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Stanoyevich 

Early Jugoslav 
literature 



EARLY JUGOSLAV LITERATURE 

( I ooo- 1 800) 



BY 



MILIVOY S. STANOYEVICH, Ph.D. 



w 




COLUMBIA UNIVERSITY PRESS 
1922 



COLUMBIA UNIVERSITY SLAVONIC STUDIES^ 



Vol. I 




EARLY JUGOSLAV LITERATURE 



COLUMBIA UNIVERSITY PRESS 
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EARLY JUGOSLAV LITERATURE 

( I ooo- 1 800) 



BY 

MILIVOY S. STANOYEVICH, Ph.D. 




Jieto gorfe 

COLUMBIA UNIVERSITY PRESS 

1922 

All rights reserved 



Copyright, 1922 
By Columbia University Press 



Printed from type. Published January, 1922 




CONTENTS 

CHAPTER PAGE 

Preface vii-viii 

Introduction 1-5 



FIRST PERIOD 

THE ORIGINS 

I. Old Slavonic Language 7-14 

II. Old Slavonic Literature 15-28 

SECOND PERIOD 

THE AGE OF RENAISSANCE 

III. Republic of Dubrovnik and the Renaissance . . 29-37 

IV. The Poets of the 15th Century 38-42 

V. Lyrics and Drama of the 1 6th Century .... 43-49 

VI. Gundulic and his Times (17th Century) .... 50-56 

THIRD PERIOD 

THE AGE OF DECLINE 

VII. The Academies and Societies 57 - 6o 

VIII. The Moralists and Minor Authors 61-69 

IX. Epilogue 70-71 

Bibliography 73-75 

Index 77-91 



PREFACE 

The object of the present treatise, as indicated by the title 
given to it, may seem sufficiently comprehensive. In the 
small space allotted to me it has only been possible to cover 
the main facts of the subject without professing to be ex- 
haustive. But I trust that even these outlines, scanty as they 
are, will be of use as giving some idea of the historical course of 
literary evolution, and I hope that at some future time they 
may be more adequately filled out. The actual facts presented 
here have been chiefly drawn from the original sources. The 
old MSS. and published works of individual authors, in the 
larger European and American libraries, form the basis upon 
which I have relied in preparing this study. However, I have 
also made use of much of what has already been written in the 
monographs of many Slavonic historians and in several Jugo- 
slav publications indicated in the footnotes and bibliography. 

With respect to the orthography and transliteration of the 
Slavonic words, use is made here of the system adopted by the 
Jugoslovenska Akademija Znanosti i Umetnosti (The Jugoslav 
Academy of Sciences and Arts), namely: 

C-c for English ti or ch in tune, litera/ure 

G-c " " tch " tsh " watch, ditch 

S-s " ssi " sh " pam'on, fish 

Z-z " si " zh " vision, azure 

D-d " " di " dy " duke, dune 

t-1 " " Hi " ly " million, fai/ure 

N-n " gn " ny " mignon, pinion 

G-g " " dg " g " bridge, stage 

I owe much more than is apparent in these pages to the 
kindness of my esteemed friends Professors J. D. Prince and 
J. B. Fletcher, of Columbia University, who have suggested 
to me verbally at some length many valuable hints as to the 



Vlll EARLY JUGOSLAV LITERATURE 

general treatment of the subject. Without their unflagging 
interest and encouragement this volume would not have been 
written. My gratitude is also due to Dr. C. A. Manning for 
his special technical help, and to the librarians of Columbia, 
Harvard, Yale and the Slavonic Division of the New York 
Public Library, who have enabled me, in almost all cases, to 
write from a first-hand acquaintance with the literature. 

M. S. S. 
New York 
April 9, 192 1 



EARLY JUGOSLAV LITERATURE 



INTRODUCTION 

The history of a language is the history of the people who 
speak it or have spoken it. Virtually it is the history of many 
tribes, different in origin, manners, and speech. When the 
people of another powerful race succeeded in crushing these 
tribes, they usually took possession of the conquered land, and 
allowed the others to live only on condition of being quiet and 
doing all the work. It is to these conquests, kept up through- 
out the Middle Ages, that the majority of European nations 
owe their geographical limits and even their present names. 
Their establishment has been mainly the result of greed and 
military power. New societies have been formed out of the 
wrecks of the older ones which were violently destroyed, but in 
the work of reconstruction they have always retained some- 
thing of their previous existence in their internal constitution 
and especially in their language. 

Languages, like nations, have their periods of growth, ma- 
turity, and decay, but while nine-tenths of the vocabulary of a 
people lives in the literature and speech of the cultured classes, 
the remainder has a robust life in the daily usage of the sons of 
toil. This limited but more persistent portion of the national 
speech never fails to include the names of those objects which 
are the most familiar and the most beloved. Such are, for 
instance, the names of the nearest relatives, father, mother, 
brother, two or three of the commoner metals, tools, weapons, 
cereals, domestic animals; the house and the most striking 
features in the landscape ; the mountain peaks and ranges ; the 
valleys, lakes and rivers; the sun, the moon, the stars, the sky 
and the clouds. At all times and in every region of the 
world, these names have had the same clear and well-defined 
meanings; their visible forms stand as a sort of material lexi- 
con, explaining the more archaic forms of living languages 
that have ceased to be vernacular. 



2 EARLY JUGOSLAV LITERATURE 

Many nations have left no written records, and their history 
would be a blank volume, or nearly so, were it not that in the 
places where they have sojourned they have left traces of their 
migrations sufficiently clear to enable us to reconstruct the 
outlines of their history. The hills, the valleys, and the rivers 
are the only writing-tablets on which unlettered nations have 
been able to inscribe their annals, and these may be read in 
the names that still cling to the sites, and often contain the 
records of a class of events about which written history is for the 
most part silent. These connotations which originally had a 
descriptive import, referring mostly to the physical features of 
the land, have even the advantage over the common names of 
a nation's speech of being less subject to the process of phonetic 
decay. They seem to be possessed of an inherent and inde- 
structible vitality which makes them survive invasions and 
catastrophes. Wars can trample down or extirpate whatever 
grows upon a soil, excepting only its native plants and the 
names of those sites upon which man has established his domi- 
cile. Seldom is a people utterly exterminated, for the proud 
conqueror has need of some at least of the natives to till the 
soil anew. These enslaved outcasts, though they may hand 
down no memory of the splendid deeds of the nation's heroes, 
yet retain a most tenacious recollection of the names of the 
hamlets which their progenitors inhabited, and near to which 
their fathers were interred. Ethnographical nomenclature 
and national tradition are therefore an important factor in all 
that concerns a nation's early history, and they often furnish 
most effectual aid in the solution of linguistic problems. 

If, then, we would trace the Slavonic languages to their 
sources, the course to be pursued is clearly marked out. The 
subject, which covers a wide range of interesting studies, 
involves, first of all, a critical inquiry into the origin, character, 
and distribution of the Slavonic race — Russians, Ukrainians, 
Bulgars, Jugoslavs, Cechoslovaks, and Poles. At various 
epochs these nations have found their way into central and 
southeastern Europe and created there new religions, new 
idioms, and new oral and written literatures. From the com- 
plexity of the subject, it is obvious that all these details are 
not the fruit of any one man's learning, but the result of long 



INTRODUCTION 3 

patient labors of many specialists in each of these branches. 
Availing ourselves of the latest researches of the distinguished 
scholars whose names we quote as our authorities, and whose 
acknowledged learning and accuracy need no commendation, 
we here present a comparative digest of their substance, so 
arranged as to be neither reduced to the skeleton of a mere 
abridgment, nor extended to the huge dimensions of a learned 
work. Supposing the reader to be familiar with at least the 
outlines of Slavonic literary history, we will not treat it 
in its entirety or in all the different branches. We will 
rather dwell on the early literature of one branch — the 
Southern Slavs or Jugoslavs, who are mainly composed of 
three peoples of the same race: Serbs, Croats and Slovenes. In 
the course of time common interests drew these people to- 
gether and brought about a corresponding fusion of their 
idioms. The traces of their language and literature are still so 
clearly marked that they easily indicate the degree of power 
and adherence to national speech and customs which was 
displayed by each branch in their present unification and 
amalgamation. 

The term Jugo-Slav (South-Slav) as now used by most 
European peoples, has a wider signification than that which it 
originally bore. The Southern Slavs call themselves Jugo- 
sloveni, and their land Jugoslavia. This is composed of several 
provinces. In the beginning of the last century one of these 
provinces (Serbia) gave birth to a few military leaders who 
became formidable to the invaders of the nation's liberties, 
and their deeds are known in the West. The name was then 
extended so as to include the whole people and country which 
is called Jugoslavia, just as the tribe of Angles, though numer- 
ically inferior to the Saxons, gave their name to England and 
all that the term English now denotes. As the Angles, Saxons 
and Jutes merged in one British people, and the dialects of 
Northumbria, Mercia and Wessex in one English tongue, 
so in Jugoslavia the inhabitants of Serbia, Croatia, and 
Slovenia blended in one Jugoslav people, and their kindred 
idioms practically in one Serbian or Croatian language, which 
is also, for better understanding, called in Slavonic philology 
Serbo-Croatian. 



4 EARLY JUGOSLAV LITERATURE 

The Jugoslav writers of the 17 th and 18 th centuries: An tun 
KaniSlic, Emerik Pavi6, Matija Re)kovi6 and especially 
IgriatDordic.Jeronim Kavanin,and Andra Ka&c Miotic, very 
often mention the words Iliria, Ilir and Ilirilki. They thought 
that these Latin derivatives (Illyria, Illyrius and Illyricus) 
corresponded to the meaning of Jugoslavia, Jugosloven and 
Jugoslovenski — the terms created later on in the 19th century. 
Nevertheless the old Illyria known from the remote ages of the 
Greeks and Romans has nothing but a part of its territory in 
common with the Jugoslavs. The conquest of Illyria by the 
Serbs and Croats began early in the seventh century. In their 
penetration from Galicia and the Carpathian Mountains to the 
South and Southwest, the Serbs occupied the eastern half of 
Illyria while the Croats and Slovenes settled in the western 
part. Forming permanent settlements in the Balkan Penin- 
sula the Slavs have profoundly modified the ethnical character 
and the usages of the Illyrians. Not long after this migration 
had taken place, the aboriginal indigenous Illyrian tribes 
were scattered all over the peninsula. Many have been 
absorbed and Slavonized, and those that have been able to 
resist the Slavic civilization and language are now represented 
by the Albanians. 

When the Southern Slavs came to the Balkans they brought 
with them their primitive tribal institutions, organized on a 
basis partly patriarchal (zadruga, family community), and 
partly political (zupa, county). Several zadrugas formed a 
pleme (plur. plemena, clans), and several clans were united into 
a military organization known as zupanija (shire) , of which the 
military leader was called zupan (sometimes knez, chieftain or 
prince). These zupanias were originally independent of each 
other, and did not at first acknowledge any alien sovereign. In 
the course of time those Slavonic clans that settled in the 
extreme west gradually passed under Roman and those in the 
east and south-east under Byzantine influence. In the 9th 
century almost all the Jugoslavs abandoned their old paganism 
and adopted Christianity. As the new religion came from 
Rome and Greece, two empires living in permanent disputes, 
the first Jugoslav literature of religious character appears as a 
constant struggle between native and exotic elements. It is 



INTRODUCTION 5 

difficult for a foreigner to be attracted by these early rudiments 
of literature which have more historical and linguistic than 
literary value, and which comprise in this study the epoch 
from the ioth until the end of the 14th century. This literature 
was written in the Old Slavonic language, flourished in the 
great united Serbian State, and vanished with the conquest of 
that State by the Turks (1389). 

The second period may justly be called the period of renais- 
sance. It embraces the age from the end of the 14th to the 
middle of the 17th century. This literature was no longer 
written in the old Slavonic dialects but in the pure Serbo- 
Croatian vernacular. It has no relation with the literature of 
the ancient period but relies rather on classical models and 
grew up under the shadow of the earlier civilization of Italy. 

The third period presented here is the age of decline. It 
started after the earthquake in Dalmatia (1667), and lasted 
to the close of the 18th century. This literature was mostly 
cultivated in Croatia, Dalmatia and Slovenia. Roman Catho- 
lic influence prevailed everywhere, and only few authors are 
to be found of any importance. 

The Jugoslav literature of the new era (19th to 20th 
century) including the folklore, is more developed, and by virtue 
of extraordinary richness and variety of its forms, occupies a 
larger space in a literary history of the Jugoslavs than the 
literature of any preceding period of the same duration. It is 
quite modern and possesses a peculiar fascination, but for the 
present it does not enter into our consideration. 



FIRST PERIOD 

THE ORIGINS 
CHAPTER I 

OLD SLAVONIC LANGUAGE 

The Old Slavonic language belongs to the Indo-European 
family. The parentage of the tongue with other Aryan 
languages stands out clearly if one compares the oldest exam- 
ples of its original literature with Paleo-Greek or ancient 
Gothic. In the continuous development of the Indo-European 
stock, the different languages separated themselves by the 
ordinary processes of dialectic differentiation and formed dis- 
tinct branches which gave birth, in their turn, to new phases, 
just as if each branch contained in itself the germs of an entire 
group of organisms which were later developed. So was par- 
ticularized the branch to which are attached the Germano- 
Balto-Slavonic group. In this grouping the Germanic first 
diverged; then the Lithuanian, Lettic and Slavonic, each 
taking on an independent existence. The Slavonic finally 
itself produced an entirely new series of tongues, dialects 
and sub-dialects. 

I 

By the middle of the 9th century the biblical and liturgical 
books had been translated by Cyril and Methodius, the 
"Apostles to the Slavs," into a Slavonic dialect which probably 
was spoken in Macedonia and the hinterland of Thessalonica, 
or Salonika, where these missionaries were born and lived in 
their boyhood. The Slavs, like all primitive peoples, practiced 
divination at first with Irtami i rezami (marks and cuts) on 
wood. 1 Later the Southern Slavs used an alphabet called 

1 See "Zapiska mniha Hrabra o slovima slovenskim" in S. Novakovic, 
Primeri kriizevnosti i jezika staroga i srpsko-slovenskoga (1904), p. 204. 



8 EARLY JUGOSLAV LITERATURE 

Glagolitic (Glagolica, from glagol, a word, letter, verb), 
which has survived as a liturgical script in certain parts of 
northern Dalmatia. 2 After their baptism the Slavs were 
compelled to write the Slavonic tongue with Greek and Latin 
script, without any proper rule. Constantine, named Cyril 
in monastic life, was the first teacher who made them an 
alphabet of 38 letters, hence the name Cyrillic (Cirilica). The 
question, into which Slavonic dialect the church books were 
translated, is still unsettled. The older German savants, 
Schleicher, Brugmann, Schmidt and Leskien, asserted that this 
dialect was the Old Bulgarian language. 3 The Serbian scholars, 
Solaric, 4 Kara£ic, Danicic and some of the Russian historians, 
believed that this was Old Serbian, while the noted Slavonic 
philologists Kopitar, Miklo§ic, Vondrak and Jagic, main- 
tained that Old Slavonic was identical with Old Slovene 
(of the Pannonic Slavs) as it was spoken in the province of 
Pannonia, in the 9th century. But there is no doubt that in 
such decisions much was due to racial and local patriotism or 
political sentiments. 5 

As the liturgical literary organ of the church, the Proto- 
Slavonic dialect completely outgrew its original domain. It 
spread gradually from province to province wherever divine 
service was carried on in the Slavonic tongue. It penetrated to 

2 Cf. V. Vondrak "Zur Frage nach der Herkunft des glagolitischen Alpha- 
bets," Archiv f. slav. Philol. XVIII (1896), 541 ff., XIX (1897), 167 ff. 

9 "In the meantime if this was really Old Bulgarian how would one call 
the language spoken by the Bulgars before they have been Slavonized," 
asks T. Maretic in his work Slaveni u Davnini (the Slavs in Antiquity), p. 
102 (1902). Of the same opinion is Prof. J. D. Prince, when he expressively 
declares that "Church Slavonic is not Old Bulgarian, but simply stood in a 
very close relationship to the Slavonic dialect adopted by the Non -Slavonic 
Bulgars." See his article "A rare Old Slavonic religious manual" in Pro- 
ceedings of the American Philos. Soc. LV (19 16), n.5, p. 359. 

4 According to Solaric the Old Slavonic is start srpski dialekat (old 
Serbian dialect), quot. by N. Andric, Rad jug. akad. CL (1902), p. 153. 

6 It is natural to conjecture that the Proto-Slavonic dialect which was 
used by Cyril and Methodius in their translations of the Scripture, was the 
tongue of the Macedonian Slavs, who lived between the Pindus and the 
Rhodope. Cf. Const. Jirecek, Geschichte der Serben (History of the 
Serbians), bk. Ill, ch. 2, p. 176 (191 1), and S. Novakovic, "Prvi osnovi 
slovenske knizevnosti medu balkanskim Slovenima" (1893), p. 128. 



OLD SLAVONIC LANGUAGE 9 

all the South Slav lands, and was to be found among Serbo- 
Croats, Bulgars and the Eastern Slavs (Russians). In all 
these regions the church language prevailed according to 
medieval conceptions, both as the national and the common 
speech, just as the Latin type did among the Roman and 
Teutonic peoples. In exercising its "civil" functions it laid 
itself open to the different local influences, as to intonation, 
formation, form and a continually enlarging vocabulary. Since 
the nth century one can accurately speak of the Serbian, the 
Russian and the Bulgarian recensions, or rather of Serbo- 
Slavonic, Russo-Slavonic, Bulgaro-Slavonic and Croato-Glago- 
litic. It must be observed that the Church Slavonic 
of the Middle Ages even took into its scope for a consider- 
able time, tongues which were not Slavonic. This happened 
to Rumanian in the south, and to Letto-Lithuanian in the 
north. 

Along the Adriatic Sea divine service was performed mostly 
in Slavonic. In southern Dalmatia the chronicles mention the 
appointment of the Catholic archbishoprics from the nth 
century onwards. They expressly refer to the Monasteria tarn 
Latinorum quant Graecorum sive Sclavorum, which differed from 
each other according to the language of their liturgical books. 
But there started in northern Dalmatia great struggles which 
are not settled even today. While the Orient since ancient 
times has been accustomed to church-books in different lan- 
guages, Latin has been the prevailing language in the West. 
The two great Churches of medieval Christianity, the Catholic 
and the Orthodox, touched each others' borders before the 
gates of the Dalmatian cities. The Slavonic apostles them- 
selves had a tense struggle in Moravia and Pannonia against 
the German clergy. In the diocese of Splet (Spalato) the 
Slavonic Catholic liturgy of the Croatians was persecuted by 
the Romans. Because of lack of knowledge the Glagolitic 
church-books were regarded by those who used the Latin as 
Gothic or Aryan. In the 13th century, a new theory arose, 
and even to this day persists in the national tradition, which 
ascribed the authorship of these books to no less a person than 
St. Jerome (346-420) . Of him the old Croatian texts speak as 
the founder of ancient Jugoslav literature, as sveila kruna 



10 EARLY JUGOSLAV LITERATURE 

hrvatskoga jezika (the sparkling crown of the Croatian lan- 
guage), and say that he was a Slav from Dalmatia. 6 However, 
modern linguistics and the publication of Slavonic docu- 
ments by the philologists, Geitler, Sobolevskij, Sreznevskij, and 
Vondrak, have thrown more light on this question. It was 
discovered that the Glagolitic originated in South Dalmatia 
(Dioclea) in the time of Constantine (Cyril) and that it was 
not much older than the Cyrillic script. The old strife con- 
fined itself after these discoveries only to provincial and 
nationalistic disputes. 7 

The sway of Church Slavonic as the medieval literary speech 
of all the Orthodox Slavs lasted many centuries. In Russia 
it obtained until the time of Peter the Great, and among the 
Serbs and Bulgars until the end of the 1 8th century. Peter the 
Great put the first obstacle in the way of the monopoly of 
Church Slavonic as the Russian literary speech. He ordained 
a new form, a kind of modernized letter adopted under Dutch 
influence, and called this the civil alphabet (grazdanskaja 
azbuka, or simply grazdanka) in opposition to the ecclesiastic 
alphabet. The hitherto superfluously ornamented letters and 
characters of the abbreviated words and expressions were kept 
in reserve for church use. Thus the Old Slavonic was limited 
only to liturgical purposes. Even theology and church 
oratory and administration were henceforth carried on 
in the new Russian language, which was used in the church 
service only on special occasions. 

Among the Orthodox Southern Slavs, particularly the Ser- 
bians, a mixture of Church Slavonic in its Russian form with a 
popular rendering was in vogue to the end of the 18th century. 
Vuk Stefanovid Karagic was the first reformer to shake off the 
remnants of this artificial dialect and to institute a phonetic 
orthography. The pure speech of the Serbian people came 
into its own as the common organ of officialdom and literature. 
The influence of Vuk Karagic in Bulgaria arrived somewhat 
later and more tardily. So even today all Orthodox Slavs have 
one and the same church language, which is essentially 

6 See "Zivot svetoga Jerolima." Starine jug. akad. I (1869), p. 236. 

7 See V. Jagic, Entstehungsgeschichte der kirchenslavischen Sprache, par. 
46-47, pp. 243 sqq. (1913). 



OLD SLAVONIC LANGUAGE II 

restricted to church uses. The limits of its employment 
are much narrower than those allowed to Latin in the 
Catholic church. 8 

II 

As to the ancient monuments in Old Slavonic, they were 
mostly written by clergymen of all ranks, and very often by 
the monarchs themselves, who either chose or were forced 
to renounce the throne and enter the monastic life. These 
scribes generally wrote their books in the peaceful retreat of a 
cloister: at Chilandar, Zograf, Studenica, Decani, Rilo, and 
many another monastery in the Balkan Peninsula. Imitating 
Greek literature, which was very handy to them and extremely 
rich in content, they borrowed its spirit, its models and its 
themes. 9 Next to theology comes hagiography, i.e., the litera- 
ture of the acts of the martyrs and the lives of the saints, which 
the Slavs cultivated with great conscientiousness. All other 
kinds of prose writing on geography, philosophy, rhetoric and 
the technical sciences, were comparatively neglected. Such 
works are of value for the most part only in so far as they 
preserve and interpret old material. There have been col- 
lected up to now 5,000 manuscripts, which represent the pro- 
duction of old literature common to all Slavonic nations, but it 
cannot be affirmed that there are as many finished works. 

The translation of the Scriptures by the two brothers Cyril 
(827-869) and Methodius (d. 885) was one of the most im- 
portant monuments in the history of Slavonic literature. By 
their prodigious work a "barbarian" tongue was raised to the 
dignity of a literary language. It is not known exactly how 
much of the Scriptures the Slavonic apostles translated, but it 
seems probable that the whole of the Gospels was rendered 

8 Leroy-Beaulieu makes the Old Slavonic as the liturgical language 
responsible for the tardy development of the Russian language. On the 
other hand, he points out that the language of Cyril and Methodius, in 
spite of local alterations, has proved a firm bond between Orthodox Sla- 
vonic peoples. "If Kyrie Eleison were sung in the Russian Church instead 
of Gospodi Pomiluy, there might never have been such a thing as Panslav- 
ism." The Empire of the Tsars and the Russians, III (1902), 2, pp. 75-76. 

9 Cf. M. Gaster, Ilchester Lectures on Greeko-Slavonic Literature (1887), 
pp. 10 ff. 



12 EARLY JUGOSLAV LITERATURE 

into Slavonic by them. Some have asserted that the Old 
Testament was also translated, but this appears unlikely, since 
no ancient codex of it exists or has ever been proved to have 
existed. In the nth century the Proverbs of Solomon cer- 
tainly were to be found in Slavonic versions. The Book of Wis- 
dom, Ecclesiastes, the Prophets and Job, were translated dur- 
ing the 13th century in Serbia. Towards the close of the 
15th century the whole Bible was already done into Paleo- 
Slavonic. According to Dobrovsky, the different parts of it 
were not collected till after 1488, when the tech Bible of 
Prague was printed. 

After the death of Cyril and Methodius, Christianity and 
Slavdom began to take a firmer hold upon Serbia, Bulgaria, 
and Russia. Counting the Orthodox, the Russian sects, Uniats 
and Glagolitics, over 100 million men today listen to the 
text of the Word of the Lord, as it was translated and inter- 
preted by the two brothers from Salonica, more than a thou- 
sand years ago. 10 After the decease of Methodius his numer- 
ous disciples were forced to leave Moravia, to seek shelter in 
Serbia and Bulgaria, and some of them went as far as Dalma- 
tia. Wherever these missionaries sojourned they left traces of 
their literary activities either as translators or original authors. 
To them have been ascribed the biographies or legends of the 
apostles : one is Vita Constantini Philosophi or Zitie Konstanina 
Filosofa, and another Vita S. Methodii or Zitie sv. Metodia. 11 

10 On Cyril and Methodius there is an extensive literature. The most 
important monographs are: J. Dobrovsky, Cyrill und Method, des Slaven 
Apostel (1823); F. Racki, Vek i delovane sv. Cirila i Metoda (I, 1857; II, 
1859); V. Bilbasov, Kirill i Methodij, 2 vols. (1868-71); A. Hilferding, 
Kirill e i Methodie (Complete Works, I, 299-340); L. Leger, Cyrille et 
Methode (1868) ; J. A. Ginzel, Geschichte der Slavenapostel Cyrill und Method 
(1861); A. d'Avril, St. Cyrille et St. Methode (1902); A. D. Voronov, Kiril 
i Methodij; Glavnejsie istocniki dlja istorii sv. Kirilla i Methodia (1877); 
F. Pastrnek, Dejini slovanskych apostolic, Cyrilla a Methoda (1902). 

11 To the legends of Cyril and Methodius have been given the name of 
Pannonic, Moravian, Serbian, Bulgarian, Italian, etc., according to the 
country from which they are supposed to have sprung. The best texts of 
Vita Constantini, Latin and Serbo-Slavonic, are published by E. Dummler 
and F. Miklosic in Denkschriften der Wiener Akademie; Philos. histor. 
Klasse, XIX (1870), 203-248. A critical edition of Vita sancti Methodii, 
Latin and Russo-Slavonic text, is by F. Miklosic (Vienna, 1870). 



OLD SLAVONIC LANGUAGE 1 3 

The real author of these biographies is not exactly known. 
They are to be found in a great number of works, which have a 
high historical value. They are gathered together in a book 
and translated into modern Russian by V. A. Bilbasov, Kirill i 
Methodij (1868-1871). The Lives of Cyril and Methodius 
tempted many a writer's pen, and inspired a great quantity of 
works signed by the most eminent critics. The study of 
sources, particularly, has received considerable attention in 
our days. One might almost say that no modern historian has 
failed to contribute something concerning these two brothers. 
The researches of the first-class savants, such as Dobrovsky, 
Safarik, Racki, Miklosic, Jagic, Ginzel, Bilbasov, Voronov, 
and Pastrnek, called forth new studies and gave renewed im- 
pulse to future philologists and men of letters. 

Other valuable documents in the old Jugoslav literature 
which have come down to us are the Slovenian Brizinski 
Spomeniki (the Freisingen Monuments) found in Freising, 
Bavaria. They are composed of a confession, a sermon and a 
prayer. The MS. is in Latin script and dates from the year 
c. 1000, but the composition is older. The language is an 
adaptation of an old Slavonic translation. The oldest Croatian 
Glagolitic monument is an inscription on the Bascanska Plola 
(Baska Tablet) dating from 1100, while the oldest Serbian 
Cyrillic document is the Pove}a Bana Kulina (Covenant of Ban 
Kulin) a treaty made in 1189 between Kulin, Ban of Bosnia, 
and Krvas, Knez (President or Prince) of the Republic of 
Ragusa. Far more stately works than these fragments and 
inscriptions, are the old codices and chronicles, the best extant 
specimens of the Paleo-Slavonic language and history. Most of 
them had been written in the period from the eleventh to thir- 
teenth century. From the eleventh century have been pre- 
served: Psalterium Sinaiticum (glagolitic) edited by L. 
Geitler, 1883; Codex Marianus (Quatuor Evangeliorum, glag.), 
ed. V. Jagi6, 1883; Glagolita Clozianus (glag.), ed. V. Vondrak, 
1893; an d Sawina Kniga (Book of Sava, Cyrillic), ed. by V. 
Scepkin, 1903. From the twelfth century are: Codex Suprasli- 
ensis (cyr.), ed. S. Severjanov, 1904; Evangelium Zographensis 
(glag.), ed. by V. Jagic, 1879; Gospel of Miroslav (cyrillic), ed. 
^ub. Stojanovic, 1897; Gospel of Rheims or "Texte du Sacre" 



14 EARLY JUGOSLAV LITERATURE 

(glag. and cyr.), ed. L. Leger, 1899; Chronicle of Presbyter 
Diocleus (originally Glag., transcriptions in Lat.), ed. Ivan 
Kukujevic. 12 The valuable monuments of the fourteenth cen- 
tury are: Apostolus of SiSatovac (cyr.) edited by F. Miklosic, 
1853; and Gospel of Nikola (cyr.), ed. by D. Danicic, 1864. 
These monuments possess not only paleographic but high 
historic value, since they are the first attempt to express in a 
Slavonic language ideas which have been hitherto foreign. 
Besides they are the first attempt to show an appreciation of 
the poetic capabilities of that language, which can hardly be 
too highly estimated. It is not too much to say that some of 
these codices possess literary grace and style which were not 
surpassed in any Slavonic prose for more than five or six 
centuries after they were written. 

12 Arkiv za povesnicu jugoslovensku, I (1851), pp. 1-37. New edition 
by Ivan Crncic, Popa Duk[anina Letopis (Latin and Croatian), Krajevica, 
1874- 



CHAPTER II 

OLD SLAVONIC LITERATURE 
I 

Of enduring importance in the Jugoslav literature of the 
Middle Ages are poetry and worship, culminating in the songs 
of the church. These songs ministered far more copiously to 
the purposes of devotion and edification than architecture, 
painting and sculpture. Employing word and tone, they 
spoke more directly to the spirit than the plastic arts and gave 
more adequate expression to the whole wealth of the world of 
thought and emotion. Of the various species of sacred poetry, 
the hymn was the earliest and most important. The hymn 
was defined as "a lyrical discourse to the feelings." The Chris- 
tian Church in all periods of its existence has been accustomed 
to use psalms and chants in public worship. The psalms are 
portions of the Psalms of David, and they have served as a 
model for composition of the hymns in the Orthodox Church. 
As the Greek text of the Psalms of David had no regular 
metrical structure, the earlier church hymns of the Eastern 
Church likewise were composed in a peculiar form. They 
usually begin with a strophe which forms the pattern of the 
succeeding ones, and is called in technical language hirmos 
(series), because it draws the others after it. The succeeding 
strophes are called troparia (versicles). A number of troparia, 
from three to twenty or more form an ode (O. Slav, pfcn) 
which corresponds to the Latin sequence. Eight odes (some- 
times nine) form a canon, which represents the highest effort of 
Orthodox hymnody. 

Another form of sacred anthems similar to the canon is the 
akathist ("theotokion") or ascription of praise to the Mother of 
God. The strophes of which the akathist is composed are called 
kontakia (Lat. canticum, O. Slav, kondak), and ikos (stanza). 
The kontakion is essentially the same as the troparion, and it 
is usually followed by the ikos, which is somewhat longer than 
the preceding strophe. 



1 6 EARLY JUGOSLAV LITERATURE 

All these chants, whatever their name may be, have no 
rhymes. They are divisible into verses [sticker a) , or clauses 
with regulated caesuras, but printed in the books as prose 
sentences. Each sentence has two to thirteen syllables, and 
these are in a continuous series, uniform, alternate or recipro- 
cal. The metre being always syllabic, does not depend on the 
quantity of vowels or the position of consonants, but on a fixed 
proportion of accents. Those stichera that are not related in 
any way to other verses in the hymns, are called idiomela, and 
those which serve as the metrical and musical patterns of 
others are automela. Of less frequent occurrence in Old 
Slavonic hymnody are katisma and katavasia. Katisma are 
intercalated verses between the odes, and katavasia are repe- 
titions of the hirmos of the odes. 

The vast mass of texts exhibiting these various kinds of 
anthems are to be found in the Menea and the Octoechos, and 
above all in the liturgical books of the Orthodox Church. 1 
The texts themselves are for the most part anonymous, but a 
considerable number of them are the work of the most cele- 
brated hymn-writers. The custom of writing hymns was so 
general and popular in the Middle Ages that bishops, patri- 
archs, and even the emperors, wrote them. Thus to the 
Emperor Justinian (527-565) is ascribed a stirring troparion 
Jedinorodni Sine (The Only Begotten Son) which is now found 
in the Liturgies of St. Mark and St. Chrysostom. The medi- 
eval legends regarded Justinian as a Slav of Macedonia. 2 
He is the originator of the greatest code of laws that has ever 
been framed, and is the renewer of the magnificent Orthodox 
cathedral of St. Sophia in Constantinople which later served 
as the standard of the church Byzantine style. Being a 
diligent student and a person of some literary pretensions, he 

1 These sources are supplemented by Kanonik, a collection of the Old 
Slavonic canons edited many times by several notable men. One of these 
collections is by Prof. Evgraf Lovjagin, BogosluZebnye Kanony, izdanie 
vtoro (1875), and another by A. Maltzew, Andachtsbuch (Kanonik) der 
Orthodox-Katolischen Kirche des Morgenlandes, deutsch und slavisch 

(1895). 

8 Cf. P. J. Safarik, Slavische Alterthiimer, vol. II, par. 29. Also J. 
Bryce, The English Historical Review, II (1887), 657/., and H. F. Tozer, 
Researches in the Highlands of Turkey, II (1869), 370 sq. 



OLD SLAVONIC LITERATURE 1 7 

wrote a good deal on theological topics and composed church 
hymns, of which the one mentioned is the best. 

In the materials of the church hymn-books many songs were 
composed by St. Romanos and St. Sergius. Romanos, the 
poet of the sixth century, is the author of one thousand kon- 
takia, among which the Deva Dues (The Virgin Today) is one 
of the most popular. Krumbacher characterizes him as the 
"greatest poet of the Byzantine time." His surnames the 
"Melodist" and the "Christian Pindar" have been quite justi- 
fied. 3 Patriarch Sergius (610-641) was the author of the 
celebrated akathist Vzbranoj Voevode (To the Champion Lead- 
er), composed as a thanksgiving to the Virgin Mary for her 
defense of Constantinople from the attack of Chaganes, king 
of Persia. Among other writers whose names are found in 
early church hymnology the most prominent are St. Andrew 
of Crete (660-732) and St. John of Damascus (8th century) the 
writers of canons. St. Sophronius (c. 630) and St. Germanus 
(c. 690) were the poets of idiomela, while St. Cosmas of Maju- 
mena (d. 760) and St. Joseph the Hymnographer (c. 840) won 
repute as the most prolific Christian poets. 

All these hymns, originally written in Greek, were twice 
translated into Old Slavonic. The first version was made in 
the nth century, but this translation was preserved only 
in a few of the oldest church books. They were again 
translated towards the close of the 14th century, and these 
last renderings are far superior to the first ones. Besides the 
translations there are many original hymns, especially in cele- 
bration of national saints, for instance the hymns to SS. Sava, 
Simeon, Stefan and other Serbian Orthodox saints. 4 

II 

When we now turn to the other lights, we find that the nth, 
12th, and 13th centuries, which practically coincide with the 

3 K. Krumbacher, Geschichte der byzantinischen Literatur (1897), p. 663. 

4 A vast number of these old original Serbian hymns will be found in 
Serblak or Srblak (Serbian Church-book) of which there are numerous edi- 
tions. Some songs to Serbian saints (Pesme svecima Srbima) are published 
by Danicic in Glasnik srpskog ucenog drustva, IX (1857), 256-267, and 
fragmentary by S. Novakovic, Primeri kiiiL ijez., 3 ed. (1904), 173-179. 



1 8 EARLY JUGOSLAV LITERATURE 

"golden" age of Serbian literary activity, were characterized 
by an output of historical prose writings. Such are the 
legends and the stories whose origin must also be sought in 
Greek sources. The Byzantines knew all the legends coming 
from the Orient or the Occident, that priceless material from 
which literature drew unstintingly. Through them many of 
these legends reached the Jugoslavs. 

To this category belong, for example, The Book of Alexander, 
the epopee assigned to the Pseudo-Callisthenes which gave 
rise to a whole cycle of heroic romances and of which the 
Paleo-Slavonic literature possesses three different recensions. 
The oldest text of this story of Alexander the Great is in a 
manuscript of the 16th century containing the translation of 
the chronicle of Malalas, which is merely the copy of a manu- 
script dating from 1261. The translation itself is unquestion- 
ably from a period still more remote. This edition and one 
other, of Serb recension, were current in Russia until the 18th 
century. 5 Another legendary history is the Trojanski Rat 
(Trojan War) . Like other Greek myths it was current after the 
10th century; and was mostly known through the chronicle 
of Malalas; one edition of it can be found in the Vatican 
in a Bulgarian translation of Con stan tine Manasses (14th 
century). A. Vostokov recognizes in this work, so very different 
from the celebrated narratives of Dares the Phrygian and 
Diktys of Crete, a distinct popular inspiration. He believes 
that it has been a more or less accurate translation from the 
original Latin, which came from western Europe. New 
Glagolitic texts of the same romance have been discovered, in 
which it is difficult to detect any touches of the old Bulgarian 
rendering. Jagic has concluded that this legend {prica) in 
the Glagolitic text was first written in Bosnia or Dalmatia, 
where Latin models most easily made their appearance. 6 

5 The text of this book has been published in the Starine, jug. akad. Ill, 
1 871; the Glasnik, II odejene.v. IX, 1878, and in other Slavonic publications. 

6 V. Jagic, Historija Miz-evnosti (1867), V, 3, p. 97/. The Glagolitic 
text of "Trojan War" in his Primeri starohrvatskoga jezika, II (1866), 
and the Cyrillic in Arkiv za povesnicu jugoslovensku, IX (1868), 121-136. 
Miklosic has published the text with Latin translation according to the 
manuscript of Manasses in Starine jug. akad. Ill (1871), pp. 147-188. 



OLD SLAVONIC LITERATURE 1 9 

From the nth century date the legends of Barlaam and 
Josaphat, one of the most popular and widely disseminated of 
medieval romances, founded on the biography of Buddha, and 
the celebrated tales of Stephanit and Ichnilat, borrowed from 
the Indian fables of "Pancatantra." Both of these romances 
have been diffused throughout western Europe, not without 
having undergone serious modifications. The Slavonic text of 
the former is of the 15th and the latter of the 13th century. To 
this group of tales belongs also the Physiologns (Naturalist) a 
collection of stories, describing animals real or fabulous and 
giving each an allegorical interpretation. Thus the story is 
told of the lion whose cubs are born dead and receive life when 
the old lion (father) breathes upon them, and of the phoenix 
which burns itself to death and rises on the third day from the 
ashes; both are taken as types of Christ. The unicorn (inorog) 
also which only permits itself to be captured in the lap of a 
pure virgin is a type of the Incarnation; the pelican that 
sheds its own blood in order to sprinkle therewith its dead 
young, so that they may live again, is a type of the salvation 
of mankind by the death of Christ on the Cross. 7 This book 
originated in the cities on the eastern and southern coast 
of the Mediterranean Sea among the writers of the Alexan- 
drian school. That school was generally known with its taste 
for symbolism. It was written in the second century and in 
the Middle Ages formed the basis of numerous bestiaries and 

7 Other animals are equally represented here, for instance, the charadrius 
(kaladrinon) , a bird presaging recovery or death of sick people. The owl or 
nyktikorax, loves darkness and solitude. The eagle renews its youth by 
sunlight and bathing in a fountain. The hoopoe (popunac) redeems its 
parents from the ills of old age. The viper (aspida) is born at the cost of both 
its parents' death. The serpent (zmija) puts aside its venom before drink- 
ing, is afraid of man in a state of nudity, hides its head and abandons the 
rest of its body. The fox (lisica) catches birds by simulating death. The 
panther allures its prey by sweet odor and sleeps for three days after meals. 
The partridge (jarebica) hatches eggs of other birds. The beaver (kastor) 
gives up its testes when pursued. The otter (enydria or vidra) enters the 
crocodile's mouth to kill it. The turtle-dove (grlica) takes but one consort 
in its life. The swallow (lastavica) brings forth but once (in Aristotle: 
twice, "Hist. Animal." V, 13). The elephant (slon) conceives after partaking 
of mandrake, and brings forth in the water. The hyena is an hermaphrodite. 
The diamond found by night, and powerful against all danger. 



20 EARLY JUGOSLAV LITERATURE 

lapidaries, which influenced a great number of authors. Cer- 
tain passages in Dante, 8 Chaucer and Shakespeare would be 
unintelligible without some knowledge of these medieval text 
books of zoology. However, with the rapid progress of the 
natural sciences the Physiologus was abandoned by scholars 
and left to take its chances among the tales and traditions of 
the uneducated masses. Its symbols found their way into the 
rising literature of the vulgar tongues, and helped to quicken 
the fancy of the artists employed upon church buildings and 
furniture. The Jugoslav texts of the Physiologus exist only in 
late MSS. of the fifteenth century which have been consider- 
ably changed from the Greek and Syriac originals. 9 One must 
not omit mentioning among documents whose Jugoslav origin 
is absolutely certain, the fantastic story of the Emperor Solo- 
mon and Kitovras, which is so well known even unto our day 
from the Russian manuscripts. There is a whole cycle of 
legends about this king, to whose wisdom, renowned in the 
Orient, was attributed a magic power over souls — surely a fit 
subject for the western epic of the Middle Ages. 10 

In some of the above mentioned legends we can easily detect 
traces of the influence of the Bogomils, a mystic sect which 
possessed many adherents in Bulgaria, Serbia and particu- 
larly in Bosnia, where they were called Patareni or Babuni. 11 

8 Cf. R. T. Holbrook, Dante and the Animal Kingdom. Columbia 
University Press (1902). See in particular chapters: IX (the lion), ch. 
XII (the fox), XIII (the panther), XXVI (the beaver), XXVII (the otter), 
XXVIII (the elephant), XXXIX (the eagle), LVIII (the serpents), etc. 

9 The Serbo-Slavonic texts of the Physiologus were published by A. Alek- 
sandrov, Fiziolog, Kazan, 1893, an d S. Novakovic, "Slovo o vestih hodestih 
i letestih," Starine jug. akad., XI (1879), iSiff., and fragmentary in his 
Primeri Knizevnosti i jezika, 3 ed. (1904), 584^*. For criticism see G. 
Polivka, "Zur Geschichte des Physiologus in den slavischen Literaturen," 
Archiv f. slav. Philol. XIV (1892), 374/.; XV (1893), 246/.; XVIII 
(1896), 523 ff. A critical Greek text with German translation, notes and 
commentaries, was edited by F. Lauchert, Geschichte des Physiologus, 
Strassburg, 1889. 

10 The narratives of Solomon and Kitovras are familiar to us from the 
Russian renderings of the 15th century. They have been widely circulated 
in popular poetry, in Serbian lore and Russian bylinas. 

11 The Slavonic word Bogomil {Bog God + mil dear, a lover of God) is 
equivalent to the Greek Theophilos. The self-laudatory term of Cathari 



OLD SLAVONIC LITERATURE 21 

In Bosnia and Hum (Hercegovina) they had some special 
privileges and were protected by Ban Kulin, who was himself 
a converted Bogomil. This heresy began to spread among the 
Southern Slavs at the same time as Christianity. It prob- 
ably came from Asia Minor, and was related to the Eastern 
dualistic system of philosophy. In common with other new 
Armenian and Manichean sects, the Bogomils accepted the 
dualism of the creative principle: the good personified in God, 
the evil personified in davo (devil), one representing the invisi- 
ble and spiritual, the other the physical and tangible. They 
wanted the abolition of the mass, the sacraments and the 
veneration of the saints. In state politics they were against 
capital punishment, armament and war. The spiritual tinge 
of their doctrine made them adverse to marriage from which 
their priests abstained totally. From a similar point of view 
we can explain another of their moral precepts, viz., vegetari- 
anism, which was founded not on the nature-worship of Budd- 
hism, or on Tolstoy's humanitarian enthusiasm, but on the 
abhorrence of the flesh and every thing begotten by it. 
Being a monotheistic sect they preferred the Mohammedan 
Allah to the Christian Trinity, and when the Turks conquered 
the Balkans most of them embraced Islam. There was a closer 
similarity between that religion and Bogomilism than between 
the latter and either the Eastern or Western Churches. This 
view is supported by the fact that in Bosnia and Hercegovina 
there are more Serbs of the Mohammedan religion (converted 
from the Bogomils) than in any other Jugoslav province. 12 
The teaching of the Bogomils exercised particular attraction 
upon the fertile imagination of the Slavic masses and fostered 

("pure," hence "Puritans") assumed by those Bogomils in western Europe 
was converted by the Germans into the generic term of Ketzer or heretic. 
The Italian word Bugiardo, i.e., liar, and the French Bougre or Boulgre, 
i.e., rogue, are lasting testimonies of the repute in which Bulgarian veracity, 
deservedly or undeservedly was held; not to mention other similar epithets 
derived from the same root. 

12 For more of the Bogomils and their doctrine, see F. Racki, "Bogomili i 
Patareni," Rad jug. akad. 1870: VII (84-179), VIII (121-187), X (160- 
263). C. Jirecek, Geschichte der Bulgaren (History of the Bulgars), ch. 
IX, pp. 155 ff. Prag, 1876, and E. Gibbon, "The History of the decline 
and fall of the Roman Empire," ed. by J. B. Bury, v. VI (1902), pp. 540 sq. 



22 EARLY JUGOSLAV LITERATURE 

the growth of an extensive popular poetic literature which has 
long been neglected and condemned by the official Church. 
Of such writings are the apocrypha, some of which are most 
obscure and some of which actually did inspire the Old or the 
New Testament; one portion came from Byzantium, but an- 
other doubtless had a Bulgarian or Bogomil origin. The 
apocryphal books (lazne knige) fall into different categories: 
works relating to certain personages or events in the Old or 
New Testaments which are not contained in the Christian 
canon; later works inspired by traditions and conceptions 
antipathetic to the Church ; and finally books of magic, incan- 
tations and sorcery. The apocryphal writings, which are by 
their origin Oriental, i.e., strictly speaking apocryphal, be- 
came diffused throughout all Christian countries in the Middle 
Ages in spite of the condemnations and anathemas of the 
Church. They were to be found in France, England and Ger- 
many, just as in Ethiopia and Syria. The Middle Ages added 
another element to this literature, through its contribution of 
numerous legends and superstitions. Byzantine literature 
especially was rich in apocryphal writings and the Southern 
Slavs being neighbors to the Greeks borrowed from them. 

Slightly known until very recently, the Slavonic docu- 
ments of this nature, in original or in translation, reveal to us a 
vast amount of the religious and popular poetry of the Orthodox 
Slavs. Many more Russian manuscripts have escaped destruc- 
tion than Serbian, and they up to the present have been the 
chief source for the study of this most precious material. The 
Jugoslav origin of many apocryphal texts is now proved with- 
out a doubt, and this certainty will become more pronounced 
when there have been collected and published these manu- 
scripts which have hitherto been but little studied. For a 
number of these apocrypha we have the originals ; for a num- 
ber of others the texts belong to the 13th and even to the 12th 
century, absolutely retaining the pure form of the Paleo-Sla- 
vonic characteristic of this period, the most remote of Jugo- 
slav literature. 

The notice of the Church was early attracted to these writ- 
ings, and to keep the faithful from error the Church made up 
an index known under the name of a collection of "canonical 



OLD SLAVONIC LITERATURE 23 

and apocryphal books." The most ancient text of the canonical 
books is that of the Paleo-Slavonic Nomocanon (Krmcija or 
Zakonu pravilo), compiled by the Serbian Archbishop Sava in 
the 13th century, 13 while the paternity of numerous apocryphal 
books was attributed to Jeremiah, a Bulgarian priest. 

The apocrypha are divided into two categories : those of the 
Old and those of the New Testament. Among the first are the 
Narratives of Adam, which contain certain details not included 
in the Bible concerning the life of Adam and Eve in the Gar- 
den of Paradise, their expulsion, the penitence of Adam, his 
sufferings, and his pact with the devil — all mingled with sym- 
bols announcing in advance the coming of the Savior. 14 Next 
in order comes the Book of Enoch™ preserved in a manuscript 
of the 16th century under the name of the "Slavonic Enoch;" 
one of the Narratives of Abraham, 1 * his revelations and his 
death (in a manuscript of the 15th century) ; and the legends 
relating to Solomon, already mentioned. In the Apocalypse 
of Baruch is presented Baruch's voyage to heaven, with 
poetic descriptions of dawn, twilight and other natural phe- 
nomena. 17 Among the apocrypha most widely circulated are 
to be found the Paralipomena of Jeremiah, 1 * a story of the de- 
struction of Jerusalem, and Isaiah's Vision, both in a manu- 
script of the 14th century. 

Apocryphal literature relating to the New Testament is, in 
the main, composed of the following works: the Gospel of St. 
Thomas, 19 which treats of the life of Christ (a manuscript of the 

13 See M. Murko, Geschichte der alteren sudslavischen Literaturen, IX, 
3, p. 149 (1908), and N. Milas, Krmcija savinska, Zadar, 1884. 

14 Serbo-Slavonic and Latin text with commentaries published by V. 
Jagic, "Die altkirchenslavischen Texte des Adambuches," Denkschriften 
der Wiener Akademie; Philos.-histor. Kl., XLII (1893), 1-104. 

16 S. Novakovic, "Apokrif o Enohu," Starine jug. akad. XVI (1884), 66 
sq. An English translation by W. R. Morfill, The Book of the Secrets of 
Enoch, edit. R. H. Charles (1896). 

16 Cf. Comments and text by G. Polivka, "Die apokryphische Erzahlung 
vomTode Abrahams," Archiv f. slav. Philol. XVIII (1896), 112-125. 

17 Edited by S. Novakovic, "Otkrivene Varuhovo," Starine jug. akad. 
XVIII (1886), pp. 203/. 

18 Edited by G. Polivka, "Prica proroka Jeremije o plenenu Jerusalima," 
Starine jug. akad. XXI (1889), 221 sq. 

19 Edited by P. A. Lavrov, Apokrificeskie teksty (1899). 



24 EARLY JUGOSLAV LITERATURE 

15th century); the Gospel of Nicodemus, 20 on the sufferings 
and death of our Savior (the original from the 5th and MS. 
from the 15th and 16th centuries); the Protevangelium of 
James, ascribed to St. James the Less, the brother of the Lord, 
containing the oldest story of the Conception of the Virgin 
extending to the death of Zacharius, written in the second 
century, of which the Slavonic MS. dates from the 15th cen- 
tury; Abgar's Epistles, a legend describing how the Emperor 
Abgar of Edessa wrote a letter to Jesus Christ and received 
from Him a reply; 21 the Acts of the Apostles: Peter, Paul, 
Andrew, Mathew, Thomas and John. Then there is a long 
series of miraculous revelations which are not recognized among 
the canonical books: the Questions of the Apostle Bartholomew 
addressed to the Savior after His descent to hell and His resur- 
rection; the Voyage of the Virgin in Hades, a very poetic 
narrative of a voyage which Mary made to the infernal regions 
and her intervention in favor of the fishermen (Serbian MS. 
from the 12th century) ; the Questions of John Bogoslov di- 
rected to the Lord on Mt. Tabor, and to Abraham concerning 
the future life; the Voyage of the Apostle Paul to the infernal 
regions; and the Discussions of the Patriarch Methodius about 
the pagan empire in recent times, the latter one of the most 
widely circulated pieces of ancient Jugoslav literature. 22 

Scientific study of the apocryphal books has recently led to 
curious discoveries about medieval Christian superstitions. 
The majority of the spurious documents have been discovered, 
but scientific analyses of them are far from being complete. 
We can affirm that from this time on we shall become better 
acquainted with the Slavs of these primitive times and that 
they will furnish us with surprising facts concerning the ancient 
popular and poetic literature of the East and the West. 23 

20 "Jevandele Nikodimovo,"ed. by Danicic, Starine jug. akad. IV (1872), 
pp. 130 sq. Also by £-ub. Stojanovic, Glasnik srp. uc. drust. LXIII (1885), 
pp. 89 ff. A discourse on this Gospel is by Polivka, in Casopis musea 
ceskeho LXIV (1890) and LXV (1891). 

21 The text by S. Novakovic, Starine jug. akad. XVI (1884), 57/. 

22 Most of the last mentioned apocrypha are published by N. Tihonravov, 
Pamjatniki otrecenoj russkoj literatury, torn II (1863). 

23 For further bulky materials on apocryphal literature in general, see 
P. A. Lavrov, Apokrifileskie teksty, Petrograd, 1899; M. N. Speranskij, 



OLD SLAVONIC LITERATURE 25 



III 



Of much greater importance and wider diffusion than hagio- 
grapha and apocrypha in Old Slavonic literature are the stare 
srpske biografije (the ancient Serbian biographies) of the 
Serb rulers and archbishops. While the apocrypha, hagio- 
grapha and romances are mostly translations from Greek, the 
biographies are original works, and are the best representa- 
tives of ancient Jugoslav culture as well as valuable documents 
of bygone ages. 24 The list of writers of this sort is headed by 
the name of a king: Stefan Prvovencani, the "first crowned" 
(d. 1223), who wrote a biography of his father Nemana, or 
Simeon in monastic life. 25 Another biographer of the 13th 
century is St. Sava (n 71-1236), the youngest son of Nemana, 
and the first Serbian archbishop. He also wrote a life of 
his father, Zivot sv. Simeuna, one of the most attractive liter- 
ary relics of this period. 26 Besides this he left two Typiks 
(Statute-books), one made for the monastery of Chilandar, 
and another for the monastery of Studenica, of which he was 
hegumen. 27 Many other writings of the same sort exist. St. 
Sava attained great glory among the Serbians for his efforts to 
spread general education among the people. He founded with 
his father on the peninsula of Athos the celebrated monastery 
of Chilandar (1192), which became one of the best known cen- 

Slavjanskija apokrificeskija evangelija, Moskva, 1895; A. N. Pypin, 
"Loznyja i otrecennyja knigi russkoj stariny"in Pamjatniki starinoj russkoj 
literatury, III (1862) ed. by Gf. Gr. Kuselev-Bezborodko; N. S. Tihonra- 
vov, Pamjatniki otrecenoj russkoj literatury (2 vols. Moskva, 1863); Ivan 
Franko, Apokrifi i legendy, I-IV (1 896-1 906). Jugoslav apocrypha are 
mostly published by Jagic and Novakovic in Starine jug. akad., see 
especially vols. Ill (1869); IV (1871); VI (1874); VIII (1876); X (1878); 
XI (1879); XVI (1884); XVIII (1886). 

24 Cf. S. Vulovic, "Iz stare srpske knizevnosti," GodiSnica Nikole 
Cupica, VII (1885), p. 88. 

25 Published by P. J. Safarik, Pamdiky drevniho pisemnictvi jihoslo- 
vanuv, v Praze, 1851 (2 ed. 1873). Another text by Pater Martynov in 
Pamjatniki drevnej pismennosti, III (1880), 19-70. 

26 Edited by Safarik, Glasnik srp. uc. drus. XX (1866), 157 sq. 

27 Ed. J. K. Jirecek, Glasnik srpskog ucenog drustva, XL (1874), 132 
sq. One of the first chapters of the Typik for Studenica is Sava's 
biography of Nemana, which later on was published as a separate work. 



26 EARLY JUGOSLAV LITERATURE 

ters of culture, attracting the Jugoslavs whose activity main- 
tained Serbian independence for several centuries. In addition 
to Chilandar, the monasteries of 2ica, Mileseva, Decani, Pec, 
Durdevi Stubovi and Banska must be mentioned. These 
were built by Nemana himself or by the members of his 
dynasty. They were foci of religious culture and in the dark 
days became havens of refuge for the national traditions. 28 

The work of Sava was continued by one of his disciples, a 
Chilandar monk, Domentijan, 29 who wrote a Life of St. Sava 
(1241) and a Life of St. Simeon (1264). The former was re- 
vised in the 14th century by a certain Teodosije. 30 To Arch- 
bishop Danilo, who administered the Serbian church from 
1323-1338, a whole series of lives of Serbian kings is attributed: 
Radoslav, Vladislav, Uros and his wife Queen Helena, Dragu- 
tin, Milutin and Stefan Decanski. This collection, known later 
under the title of Carostavnik (Tsars' Chronicle) or Rodoslov 
(Genealogy), overflows with such a wealth of enthusiasm that 
its historical value suffers. In the first copies, which always 
bear the name of Danilo, the Rodoslov is carried to the end of 
the 1 8th century. 31 The Life of Stefan Decanski was written by 
Gregory Camblak (Samblak or Tsamblak, 1 364-1420), a name 
which is met again in Russian history and which is a living 
proof of the literary unity which existed between Russia, 
Bulgaria, Serbia, and Rumania. Both Bulgarian and Serbian 
versions of this biography are extant. It is beyond doubt that 
the author himself endeavored to write in the true Paleo- 
Slavonic or ecclesiastical style. 32 

P. Safafik pretends that Serbian literature shows a greater 
originality and taste the more ancient it is. The narrative 

28 For a more extensive monograph of St. Sava, see A. Gavrilovic, 
Sveti Sava. Beograd, 1900. 

29 Zivot sv. Simeuna i sv. Save, napisao Domentijan. Ed. by D. Danicic. 
Beograd, 1865. 

30 In i860 D. Danicic published Zivot svetoga Save and ascribed its 
authorship by mistake to Domentijan instead of to Teodosije. 

31 Published by Danicic, Zivoti kra\eva i arhiepiskopa srpskih. Napisao 
arhiepiskop Danilo i drugi, Zagreb, 1866. 

32 Ed. by Ivan Kukujevic (Bulgarian version) in Arkiv za povesnicu 
jugoslovenksu, IV (1857), 1-29, and J. Safarik (Serb version) in Glasnik 
srpskog ucenog drustva, XI (1859), 35 sq. 



OLD SLAVONIC LITERATURE 27 

by Domentijan in particular appears to him to be a witness "of 
the striking intelligence and the broad culture" of this writer; 
"it is one of the most precious jewels of the entire earlier Slav 
literature." 33 He places it far above the revision made by 
Teodosije, who, according to Safafik, has disfigured Domenti- 
jan's work. Dani&c however has made the observation when 
publishing the two, that there is to be noticed no great dif- 
ference, and Jagic maintained that the spun-out narrative of 
Domentijan is actually more lacking in facts than the biog- 
raphy of Nemana by Stefan Prvovencani. Domentijan is a 
garrulous monk who turned into rhythmic phrases the narra- 
tive of Stefan; the revision of Teodosije, if one studies it with 
care, bears witness to a greater degree of taste, and he varies 
less often from the account of Stefan, than does Domentijan. 34 
Among the works not produced in monasteries, and of 
which the subject may be considered more truly national, it is 
well to note two, which are highly interesting and unique in 
their way, Zakon Vinodolski (the Law of Vinodol) and 
Zakonik Stefana Dusana (the Code of Stefan Dusan). The 
Law of Vinodol was written in 1288 in Novi, a city on the 
Croatian seacoast. 35 It is a collection of older statutes and 
characterizes well those people for whom it was composed. 
The Codex of Stefan Dusan was accepted by the two Parlia- 
ments (Sabor, Congress) of 1349 and 1354. Like a great 
number of other legislative documents of the Middle Ages the 
Zakonik is not a product of a single thought; the entire na- 
tion, at least the entire political nation, collaborated in it. 
The Code of Dusan established the authority of law and put an 
end to the arbitrary power of the nobles. However, its main 
importance lies in the fact that it permits us an insight into the 

33 "Eine der Hauptzierden der gesammten altern slavischen Literatur." 
(P. J. Safarik, Geschichte der serbischen Literatur, Abt. I, 230/., 1865). 

34 See V. Jagic, Historija kniSevnosti, I (1867), ch. VI, sec. 3-4. 

36 Vinodol in the 13th century was a district between Sen (Zengg) and 
Reka (Fiume), ruled by the Croatian princes Frankopans. The Zakon 
Vinodolski was published with introduction by A. Mazuranic, Kolo, III 
(1843), and by Fr. Racki in the Monumenta historico-iuridica Slavorum 
meridionalum, IV (1890). Another text with Russian version is by V. 
Jagic, Petrograd, 1880. A French translation, La loi du Vinodol, is by Jules 
Preux, Paris, 1897. 



28 EARLY JUGOSLAV LITERATURE 

life and the degree of civilization to which the Southern Slavs 
of that time, the most brilliant of their whole history, had 
attained, somewhat as the Russian Pravda of Jaroslav shows 
the degree of civilization of the Eastern Slavs. 36 

36 Dusan's Codex has been published several times. The best editions 
are by F. Miklosic, Lex Stefani Dusani (1856), and by S. Novakovic, 
Zakonik Stefana DuSana, 2 ed. 1898. The interpretations of the Code are 
by N. Krstic, Glasnik srpskog ucenog drustva, VI (1854), VII ( J 855) and 
C. Jirecek, "Das Gesetzbuch des serbischen Caren Stephan Dusan," Archiv 
f. slav. Philol. XXII (1900), pp. 144-214. 



SECOND PERIOD 

THE AGE OF RENAISSANCE 

CHAPTER III 

REPUBLIC OF DUBROVNIK AND THE RENAISSANCE 

While the Orthodox Serb writers were following the paths 
laid out by the earlier authors, and among the Croatians 
of the West, Glagolitic literature was becoming dominated 
more and more by Catholicism, there grew up, among the 
Serbo-Croats of the Adriatic littoral toward the close of the 
15th century a literary movement which is unique in early 
Slavonic literature. Formed by particular historic circum- 
stances, a poetical school of the most remarkable talent budded 
forth, with its center at Dubrovnik (Ragusa) and its language 
the pure popular dialect. 1 

During more than two centuries (i5th-i7th) this new 
movement threw its bright rays towards the north, east and 
south. The history of the South Slav world does not offer 
anything to compare in intellectual intensity with this phe- 
nomenon. The Serbs or Croats from Dalmatia took up their 
residence at Venice and there were a number of ancient Slavic 
families in that celebrated republic. Politics, commerce and 
religion drew these two countries together, and made openings 
for the Italian Rinascimento to widen its scope. The science, 
faith, art, institutions, customs and usages of a polished and 
refined society gained a rapid triumph. The results moreover 
were so rich in content that there gradually started under 
the Latin influence a well maintained and steady current of 
production. This movement known in history as the Revival 

1 The word Dubrovnik derives its meaning probably from dub (oak), or 
dubrava (oak-wood) which at one time covered the hills where the present 
city is situated. Cf. L. Leger,"La Republique de Raguse," Revue des sci- 
ences politiques, XL (1918), p. 42, and Sir J. G. Wilkinson, Dalmatia and 
Montenegro, I (1848), ch. V, p. 277. 



30 EARLY JUGOSLAV LITERATURE 

of Learning or Renaissance, fired to a high pitch the little 
republic, which became the Mecca of Jugoslav intellectual 
life. The easy communication among the free republics, and the 
commerce which had developed the wealth of the country and 
enlarged the mental capacity of the population, were in direct 
contrast to the dire despotism and the civil wars from which 
Serbia was suffering at the time of the Turkish invasion. 2 

I 

Situated on a craggy peninsula, the territory of Dubrovnik 
was too small and in part too sterile to provide sufficient food- 
stuffs for the population. Consequently it was upon trade 
and industry that the citizens had to depend for their means 
of livelihood. Trade, both sea-borne and overland, received a 
great additional impetus from the extension of Venetian traffic 
and from the increasing civilization of the Slavonic States. At 
Ragusa, Venice, Florence, Rome, and elsewhere in Italy, the 
aristocracy as well as the middle classes were interested in 
trade. We find members of all the noble families in the 
Ragusan settlements in Serbia, Bosnia and Albania, and no 
nobleman disdained to travel overseas with his own goods. 
Members of noble families engaged in trade were constantly 
making voyages on their own ships, and later they were 
employed as scribani. 3 No one could be a scribanus unless he 
belonged to the Ragusan nobility. 

The Ragusan vessels were found in every part of the 
Mediterranean Sea. From the commercial provisions con- 
tained in the various treaties between Ragusa and Venice, we 

2 The City (later Republic) of Ragusa was founded in the 7th century 
by refugees from Epidaurum (now Captat). During the 13th cen- 
tury it acquired through trade and crafty diplomacy, lordship over a 
territory of some 750 square miles, extending from the shores of the Boka 
Kotorska to the mouth of the Neretva, including the neighboring islands. 
It maintained its independence until 1808, when, with the rest of Dalmatia, 
it was annexed to the Illyrian Kingdom (as a French possession). In 1814 
it passed to Austria, and in 1918 was united with its mother country, Jugo- 
slavia. See J. Cvijic, La Peninsule Balkanique (191 8), livre II, chap. VIII, 
p. 359, and L. Vojnovic, Pad Dubrovnika, I— II, Zagreb, 1908. 

8 Scribanus (Serb, pisar) is an officer employed by the nobleman (vlaste- 
lin) or magistrate. 



DUBROVNIK AND THE RENAISSANCE 3 1 

learn that the former traded with all parts of the Eastern 
Roman Empire, Syria, Egypt, Tunis, Barbary, Italy and 
Spain. 4 At Constantinople, the privilege granted by the 
Comneni were renewed by the Latin Emperors Baldwin I and 
Henry. The Ragusans traded especially with the Morea, and 
the feudal duchy of Klarentza (Cyllene, Ital. Chiarenza) or 
Clarence? bringing silk to Ancona (Slav. Jakin) and other 
parts of Italy. At the same time they kept up their connection 
with the Greek princes who held sway over the fragments 
of the Byzantine Empire, namely, the Emperors of Nicaea and 
Trebizond and the despots of Epirus. 6 When the Byzantine 
Empire was re-established in 1261, all the exemptions and 
privileges were re-confirmed, first by Michael Palaeologus, 
and later, in 1322, by Andronicus II. 7 

Other countries with which Dubrovnik had commercial 
intercourse were Bulgaria, Serbia, Bosnia and Hungary. In 
the early days of the second Bulgarian Empire (12th century), 
the Venetians could not trade with it, as they supported 
the Latin Empire at Constantinople in withstanding the 
Bulgarian invasions. The Genoese were equally cut off be- 
cause the Venetians excluded them from the Bosporus. The 
field therefore lay open to the Ragusans alone and they were 
favorably received by the Tsar Assen II (1218-1241), who 
called them his "trusted beloved guests." 8 With Bosnia 

4 C. Mijatovic, a Serbian historian, asserts that after the fall of the 
Serbian State, viz., in the 17th and 18th centuries, Ragusa traded with 
America, and that some of its citizens came to power and influence in Spain 
and Mexico. See Glasnik srp. uc. drus. XXXIII (1872), p. 226. 

6 Whence the title of the English Duke of Clarence was derived. See 
V. de Saint-Martin, Nouveau dictionnaire de geographie universelle, I (1879), 
P- 749. 

6 After the capture of Constantinople by the crusaders, Epirus continued 
to hold out against their arms, and was ruled by the despots Michael I 
(who died in 1214), Manuel (1214-1241), and Michael II (1241-1271), all 
of whom granted valuable privileges to the Ragusans. See G. L. F. Tafel 
and G. M. Thomas, "Griechische Original-Urkunden zur Geschichte des 
Freistaates Ragusa," in the Sitzungsberichte der Wien. Akad. der Wissen- 
schaften; Philos.-hist. Klasse, Bd. VI (1851), Hft. IV, 507 sq. 

7 W. Heyd, "Histoire du commerce du Levant au moyen-age," I (1885), 
P- 475- 

8 Vsevernii \ubovnii goste. See Fr. Miklosic, Monumenta serbica (1858), 
VII, p. 3. 



32 EARLY JUGOSLAV LITERATURE 

and Serbia the Dalmatian trade became extremely active. In 
1 35 1 according to Cerva (Crevi6), the Serbian emperor, DuSan, 
established an embassy at Dubrovnik. He founded there a 
large library filled with Greek and Latin books, and sent cap- 
able young men to study literary and humanistic sciences. 9 
Three years later Dusan himself visited Dubrovnik, 10 and 
granted to the Ragusans concessions to exploit Serbian 
mines which were a source of considerable revenue to the 
State. The mines of Illyria were well known even in the 
Roman times. They were abandoned during the barbarian 
inroads, and it was not until the 12th and 13th centuries, at 
the time of the rise of the Serb States, that the industry re- 
vived. Wonderful tales were told by medieval travelers of the 
golden splendor and richness of the Balkan mines and cities. 
As late as 1453 the Byzantine historian Kritoboulos of Imbros, 
speaking about the expedition of the Sultan Mohammed II 
(whose secretary he was) against George Brankovic, asserted 
that Serbia was a very fertile land and had all kinds of produc- 
tion in abundance. But the characteristic in which she surpassed 
other countries was her plentiful possession of gold and silver ; 
everywhere one could dig he found large deposits of the pre- 
cious metals in great quantities and even better than those in 
the Indies. 11 The Serbian kings Stefan Uros I (1243-1276) 

8 Primarios et ad litterarum studia aptiores suae gentis juvenes. Cit. by 
V. Jagic, Rad jug. akad. IX (1869), p. 206. 

10 Sir J. G. Wilkinson, Dalmatia and Montenegro, p. 314. Leopold 
Ranke assumes that Dusan visited Ragusa in 1347, where he was received 
with European honors, and was acknowledged as its protector. Sammtliche 
Werke, Bd. XLIII-XLIV (1879), p. 10. 

11 La terre (i.e., Serbie) y est res fertile et capable de tout produire, en 
abondance, aussi bien en cereales qu'en arbres. Elle a aussi des troupeaux, 
c'est-a-dire des brebis, des pores, des vaches et de beaux chevaux en grande 
abondance, et beaucoup d'autres animaux mangeables et utiles, apprivoises 
et sauvages; elle en offre des races distinguees et produit tout ce qu'il faut 
pour leur nourriture. Mais ce qui forme son plus grand bien et ce par quoi 
elle surpasse de beaucoup toutes les autres terres, e'est qu'elle offre, comme 
d'une fontaine, de Tor et de l'argent, et partout ou Ton creuse se presentent 
des ejections d'or et d'argent en grand nombre et tres belles, meilleures 
mime que celles Indes. (Critoboulos, Vie de Mahomet II, livre II, par. 30- 
31, traduit par le Dr. Ph. A. Dethiero, Monumenta hung, historica. — 
Scriptores, XXI, Buda-Pest, 1866?) 



DUBROVNIK AND THE RENAISSANCE 33 

and his son Uros II Milutin (1282-1321) summoned German 
miners from Transylvania, called Saxons (Slav. Sasi), so as to 
benefit by their skill, but they employed many Ragusans 
also. The ore was -extracted from galleries and shafts, many of 
which are still in existence. The refining of the metal was car- 
ried on at Ragusa or Venice. 

Gold, silver, copper, lead, and iron were the chief products 
of the mines of Bosnia and Serbia. Gold, of which the earliest 
mention is in 1253, was found chiefly in the Novo Brdo (Novus 
Mons), now only ruins, between Pristina and Vrane, but at 
that time the largest city in the interior of the Balkan Penin- 
sula. It was said in old chronicles that this city yielded about 
200,000 ducats per year. Other principal mining centers were 
in Bosnia: Kresevo, Fojnica, Srebrenica, and Zvornik; in 
Serbia, besides Novo Brdo: Rudnik, Krupan, Kucevo, and 
Kopaonik; in Zeta (Montenegro): Brskovo or Brescoa. 12 
At the end of the 13th century in Brskovo there was a mint, 
where the grossi de Brescoa were coined. The kings of Serbia 
(Rascia) beginning with Stefan Uros I, struck their own coins 
in imitation of the Venetian ducats, but with considerable 
amount of debased metal, whence Dante's allusion (Paradiso, 
XIX, vv. 139-141): 

E quel de Portogalo e di Norvegia 

li si conosceranno e quel di Rascia, . 

che male aggiusta il conio di Vinegia. . . 

And he of Portugal and of Norway 
shall be known, and he of Rascia, 
who counterfeited ill the coin of Venice. 13 

12 A very elaborate and interesting account of the Ragusan trade and the 
Serbian mines in the Middle Ages is given by C. J. Jirecek, "Die Han- 
delsstrassen und Bergwerke von Serbien und Bosnien des Mittelalters" 
(1879), pp. 41-58. 

13 It is historical fact that the Venetian Government on Oct. 29, 1282, 
pronounced these coins false and gave an order to destroy them in all those 
Adriatic cities which were under its protectorate. "Die vigesima nona 
octobris capta fuit pars: quod occasione destruendi dennarios grossos de 
Brescoa . . ." {Monumenta spectantia hist. Slav, merid., Listine, I, 1868, 
p. 133.) Although Dante was not flagello dei principi (the scourge of 
princes) as was his contemporary P. Aretino, he undoubtedly was inclined 
to the republican form of government, hence his stigmatization of a Serbian 
king as falsifier is easv to understand, but why the Venetian Government 



34 EARLY JUGOSLAV LITERATURE 

In Brskovo as well as in other mining districts the Ragusans 
had their colonies or settlements. At the head of the colony 
were the consul and two judges, usually noblemen appointed 
by the Republic. At the Royal Court in Skopje (then the 
Serbian capital) resided an ambassador in whose charge were 
all the Ragusan settlements in Serbia. 

Communication between Ragusa and the. settlements in 
the interior was carried on by means of couriers. 14 These 
couriers carried official correspondence from the Republic to 
the ambassadors and consuls, and legal notices, writs, reports 
of judicial proceedings, etc., to the Ragusan traders. They 
were not allowed to convey private correspondence, which was 
usually sent by caravan, or in the case of the chief merchants 
by their own special messengers, save on the return journey. 15 
The time employed by these caravans and messengers was 
usually ten days from Ragusa to Skopje, seventeen to Sofia, 
and twenty-five to Constantinople. The official correspon- 
dence to the various representatives in the Near East is pre- 
served in the archives of Dubrovnik in 138 volumes, under the 
heading of Lettere e Commissioni di Levante. 

II 

The traffic and trade carried on with the Byzantine, Italian 
and Slavonic States proved to be a source of great public and 
private wealth. The Ragusan merchants succeeded in making 

issued such a denunciatory decree is not clear. All Serb coins of that time 
bear the effigies of the Serbian kings and Serbian inscriptions. The dis- 
crimination of these grossi one may see in the figures given by Philalethes 
in his translation of Dante Alghieri's Gottliche Comodie (1866), p. 247, and in 
the collection of old Serbian coins by Janko Safarik, Glasnik srpskog 
ucenog drustva, III (1851), pp. 191 sq. 

14 Lat. cursores, It. corieri, Serb, listonose, kniznici or kiiigonose. 

15 The Ragusan caravans (turma) consisted chiefly of horses and were 
under the charge of Vlach drovers. These Vlachs or Rumans of the Bal- 
kans were nearly all shepherds and cattle-drovers, with markedly nomadic 
habits. There are hardly any distinctive traces of them to be found now in 
Dalmatia, save in the name Morlacchi (Maurovlachs) given to the Slavs 
generally by ignorant Italians of the coast towns. In Macedonia, however, 
the Kutso- Vlachs (Cincari, Tsintsari, or Zinzari) are numerous. Their 
language belongs to the Neo-Latin group and they still ply the trade of 
wandering merchants and inn-keepers. (Cf. Jirecek, op. cit. pp. 60-61.) 



DUBROVNIK AND THE RENAISSANCE 35 

their port a real emporium of Eastern commerce. They 
accumulated large fortunes by intelligent management, sa- 
gacity and indefatigable industry. The proceeds obtained 
from their trade and industry were used for the promotion of 
literature and the arts of refinement. The literary treasures 
of ancient Greece and Rome were collected in libraries for 
public use. The city itself was beautified by the erection of 
magnificent buildings: churches, museums, and picture- 
galleries which still attract visitors from every land. Most of 
these edifices were built in the Byzantine and Gothic styles, 
but many of them also have original Slavonic features. As the 
Dalmatians of the maritime cities came into contact with the 
nations of Eastern and Western Europe, they imitated first 
Byzance and later Italy and Spain. The Byzantine influ- 
ence in Ragusa and notably in Serbia, Macedonia and Croa- 
tia can be traced in art and literature as late as the 12th 
century. 16 After that time the Latin civilization prevailed not 
only in literature but also in architecture, painting, and sculp- 
ture. 17 

It is not difficult to explain why the Latin civilization mas- 
tered Ragusa. Young Dalmatians went to the neighboring 
peninsula to finish their studies, and an especially large num- 
ber were gathered at the University of Padua. To Italy pene- 
trated the western European customs, and the works which 
marked the end of the Middle Ages. Latin literature, which 
persisted in spite of the protest of the church and its doctrines, 
had already been cultivated with some success in Dalmatia 
where it had become, so to speak, naturalized. There Proven- 
gal poetry had been also known for some time — that cult of 
love songs and admiration for women or "divine worship of 
beauty." 18 An effect of the Renaissance was to reinstate the 
ancients and to create the inspiration for the study of the 

16 Cf. M. Dimitrijevic, "L 'Architecture religieuse en Vieille Serbie et en 
Macedoine." La revue slave, I (1905), p. 41/. 

17 See T. G. Jackson, Dalmatia, II (1887), p. 204/.; also his article 
"Serbian Church Architecture" in South Slav Monuments, ed. by M. I. 
Pupin, v. I (1918), p. 7 sq. 

18 On the subject of idealization of women in the period of the Renais- 
sance, see the study of Prof. J. B. Fletcher, The Religion of Beauty in 
Woman, New York, 191 1. 



36 EARLY JUGOSLAV LITERATURE 

classical works. In a word, the literary and scientific influ- 
ences which operated in Italy, were really transferred to the 
other side of the Adriatic. What Cicero once said about Greek 
and Latin literature, artissimo vinculo coniuguntur atque 
associantur, may be said even more truly of the Italian and 
Ragusan literatures. This parallelism between Italian and 
Dalmatian letters lasted as long as the Dalmatian literature 
itself endured; it commenced by considering the works of the 
ancients, the religion of classical antiquity, and admiration for 
Boccaccio and Petrarch ; it finished by imitating Giambattista 
Guarini and Metastasio. Dalmatian writers were successful 
in all the directions towards which the Renaissance had 
inclined Italy: epic poetry, lyrics and the drama. 19 It was 
not only exterior conditions of literary development which 
provoked curious likenesses, but the social position of the 
writers as well. Authors were accustomed to exercise a cer- 
tain authority, gathering around them a little group of friends 
and disciples to inspire with their spirit. 

This flowering was in fact a very peculiar and exceedingly 
odd event. A little republic whose population did not surpass 
a few dozen thousands of inhabitants, produced from the end 
of the 15th century a relatively prodigious number of writers 
and savants, and a great majority of them of superior merit. 
Many states, and not the least powerful, would be incapable 
of producing illuminated books such as these authors illus- 
trated. Although the position which this culture occupied, 
halfway between Italy and Byzance was without doubt a very 
favorable one, that would not suffice to explain fully such a 
brilliant movement, and it is necessary to reckon with the 
latent fund of national forces which this literature kept in 
reserve. The Renaissance moreover did not come from Italy 
alone. The Greeks contributed a large part to the Revival of 
Learning. After the fall of Constantinople in 1453, many Byzan- 
tines sought refuge in western countries, and some retired to 
Dubrovnik. There lived Demetrius Chalcondylas, E. Marulus, 

19 An essay of the Ragusan drama, its sources and imitations, was made 
under the intelligent scrutiny of A. Pavic, Historija dubrovacke drame 
(1871). See also W. Creizenach, "Das serbo-croatische Drama in Dal- 
matien" in his work Geschichte des neueren Dramas, II (1901), pp. 506-526. 



DUBROVNIK AND THE RENAISSANCE 37 

J. Lascaris, and several others, celebrated over all Europe for 
their learning. 20 After their arrival, schools for the study of 
the ancients were established and carried on. Of those Dalma- 
tian students who flocked to the courses of study offered at the 
schools and universities of the neighboring peninsula, many 
later became known outside of their country and obtained 
European reputations. From Dubrovnik came Ivan Stojko- 
vi6 ( 1 395-1 443), one of the most celebrated theologians of 
the 15th century, 21 and Ilija Crevic or Cerva (1463-1520), a 
crowned poet -laureate at the Quirinal in his 22nd year. 22 In 
the annals of art the name of Dubrovnik was not less glorious, 
and it would be easy to draw up a long roll of celebrities. 

The list of Dalmatian poets since the 15th century is lengthy. 
A small part of their work has been published, either in 
past centuries or in our own day, and that only since interest 
has arisen in this history. Mention of the manuscripts is 
scattered through various Dalmatian biographies, and in the 
great collections of different European states. We shall only 
stop to consider the best known authors, who are regarded in 
Jugoslav literature as classical. 23 

20 Vid. Talvi, "Historical View of the Languages and Literature of the 
Slavic Nations" (1850), p. 128. 

21 Cf. P. Matkovic, "Prilozi k trgovacko-politickoj historiji republike 
dubrovacke," Rad jug. akad. VII (1869), p. 235. 

22 See C. Jirecek, Archiv f. slav. Philologie, XIX (1897), pp. 45/. 

23 For the sources of information regarding the Ragusan Renaissance 
and foreign influences, see V. Lamanskij, "Nacionalnosti italijanskaja i 
slavjanskaja v politiceskom i literaturnom otnosenijah" (1865); F. Racki, 
"Prilozi za povest humanizma i renaissance u Dubrovniku," Rad, LXXIV 
(1885); A. Pavic, "Prilog k historiji dubrovacke hrvatske knizevnosti," 
Ibid. XXXI (1875); S. Lubic, "O odnosajah medu Dubrovcani i Mletcani," 
Ibid. V (1868); Iv. Kasumovic, "Utecaj grckih i rimskih pesnika na 
dubrovacku liricku poeziju," Ibid. ICC (1913), CCI (1914), CCIII (1914), 
CCV (1914) ; M. Korelin, "Rannyj italjanskij gumanizm i ego istoriografija" 
(1892); M. Medini, Povest hrvatske knizevnosti u Dalmaciji i Dubrovniku, 
vol. I, Zagreb, 1902. 



CHAPTER IV 

THE POETS OF THE I5TH CENTURY 

I 

One of the precursors of the Ragusan poets was Si§ko 
Mencetic (1457-152 7). He had an especial talent for compos- 
ing those love songs which the troubadours and their joglars 
brought to the world. The Provencal school had declined since 
the end of the 13th century, but its influence reigned for a long 
time in the palace of Alphonse V at Milan, where that king 
spent his exile. In Italy Petrarch was the most illustrious 
representative of this conventional lyricism, and he had many 
imitators. As has been pointed out, Ragusa had too extended 
a commerce and too intimate relationships with distant coun- 
tries to remain untouched by foreign customs and civilizations. 
Provencal poetry was not slow in penetrating there. Jagic by 
a comparison of the poems of Petrarch and his disciples 
(Petrarchists) with those of the Dalmatian writers has shown 
the influence which the poetic theory of love has exerted upon 
the Dubrovnik school, the theory as conceived by the Pro- 
vencal singers. 1 In the writings of Mencetic love is a subject 
which occurs again and again, and his Pesni J^uvezne (Love 
Poems) form a veritable "Slavonic Canzoniere," in the Proven- 
cal-Italo-Castilian style. The prevailing characteristics of 
these poems are exaggeration and hyperbolism in emotion and 
expression. The poet sometimes repeats the same idea varied 
by allusions and wit, giving to his verses a gem-like form, as 
an acrostic of his name or the names of his heroines. The 
motifs of his chansons oV amour are taken from Petrarch, whom 
he greatly admired, and very often one can find entire stanzas 
translated from him. The verse is Alexandrine, with rhyme 
on the caesura, and contains twelve syllables. 

The contemporary and coadjutor of Mencetic was Dore 
Dr2i6 (d. 15 10). Subsequent writers held these two poets in 

1 See V. Jagic, "Trubaduri i najstariji hrvatski lirici," Rod jug. akad., 
IX (1869), pp. 215 sq. 



THE POETS OF THE 15TH CENTURY 39 

high esteem and regard them as the Dioscuri. Ignat Dordic, 
a Dalmatian biographer, compared them to Petrarch and Boc- 
caccio. Ranina praised them for having been the first to make 
known the poetry of their country. Although they knew 
Italian very well, they did not wish to work in a foreign field 
already overdone. They wrote in their own national language 
and became the glory of their people. In their works, it is true, 
there is nothing which recalls actual life; but in Italy this sort 
of poetry was as artificial and conventional; it was merely a 
kind of writing exercise. 2 Nevertheless the great merit of the 
poets from Ragusa lay in their efforts to develop the Jugoslav 
language. Each of their works makes a step in advance in the 
use of the Serbian or Croatian dialect, purifying and ennob- 
ling it. jRanina 3 rendered the sonorous Slav languages their 
due by stating that they offered no less potentialities than 
Italian and Latin. Furthermore it seems that real popular 
poetry was not held in contempt by the early writers. In some 
of their poems one finds among other things, certain verses 
which by their character and the sentiment which they inspire, 
are singularly like the national pesma (song), if indeed it is not 
that. From this point of view there is a remarkable progress 
from Mencetic-Drzic and their immediate successors. They 
took a real interest in popular poetry, in searching for and 
imitating authentic creative works. 4 

II 

A short time after the above mentioned amorists came Han- 
nibal Lucie (c. 1485-1553). He also wrote love songs, but 
more especially a drama, Robina (Slave-girl), the theme of 
which was taken from the Croatian wars against the Turks. 

2 As people fell in love by fashion so they composed songs which did not 
always correspond to their real feelings. Cf. Ivan Milcetic, "O poslanicama 
u dubrovacko-dalmatinskoj periodi hrvatske literature" (1882), p. 54. 

3 See infra. 

4 The poems of Mencetic and Drzic have been edited by V. Jagic, Stan 
pisci hrvatski, v. II (1870). For a good account of these two lyricists, see 
also V. Jagic, "Die Acrosticha bei Mencetic u. Drzic," Archiv f. slav. Phil. V 
(1881), 87 sq.; C. Jirecek, "Der Ragus. Dichter £. Mencetic," Ibid. XIX 
(1897), pp. 22-89, and "Beitrage zur ragusanischen Literaturgeschichte," 
Id. Ibid. XXI (1899), PP- 399-542. 



40 EARLY JUGOSLAV LITERATURE 

One of the most curious of his songs is that which was com- 
posed U pohvalu gradu Dubrovniku (In honor of the city of 
Ragusa), and which pulses with the sincere and emotional 
respect which this free Republic inspired abroad: 

Moj pisfii zbrojiti nikakor ni moti 

sve kraje, cestiti Dubrovnik gdi opti. 

Kroz gore, kroz luge, po svitu svej mice 
trgovce brez druge zabave ni pride; 

po stranah, ke gleda sunce na dalece, 
i koje prik reda t s redom ke pele, 

sve trge primaju, mirno ke donosi, 
i ke oni daju, on mirno odnosi; 

pace jos tko hodi po svitu, nastoji 

svak, da kako godi ime mu posvoji. 

i da se povidi negov, premda nije, 

za neka svak vidi dobro ga svudije. 

Dostojan je svudi ovi grad da slove 
da ga Bog i \udi vazda blagoslove. 

My. songs cannot enumerate all the lands 

with which the famous Ragusa communicates. 

Over mountains and through forests, all the world over, 
does she send merchants without let or hindrance; 

Through lands where the sun shines from afar, 

where it burns moderately and blazes overmuch; 

All receive the wares which they peacefully bring, 
and what they give, she peacefully carries away; 

And still there are in the world those who endeavor 
by all means to appropriate her name, 

And declare her their own city, though she is not, 

for everybody knows that good is good everywhere. 

Worthy is the city that she should everywhere be praised 
that God and men should bless her, 

However, the patriotism of this poet did not limit itself to 
the walls of Dubrovnik. It was a true Slavic soul which beat 



THE POETS OF THE I5TH CENTURY 41 

in his bosom; he wept at the thought of his people suffering 
under the Turkish yoke; he implored the help of Providence 
and blushed to think that the Slavs were not protected by 
others, that they were brothers abandoned by brothers. The 
Robina of Lucie is the first original attempt at drama, properly 
speaking. It treats of a girl of noble family who is abducted 
by the Turks and who is put up to be affianced in the mar- 
ket-place, where she is ransomed by a young hero, Ban 
Derencin, and set at liberty. Such a subject would readily 
lend itself to heated outbursts against the Musulmans. How- 
ever in all the writings for the theatre at Dubrovnik the hatred 
of the Christians against the infidels, the struggle of the 
Cross against the Crescent, was never allowed to be openly 
displayed. This shows the pacific and prudent policy of the 
Dubrovnik Republic ; under her hands much was undertaken 
against the Turks, but she had too much wisdom to commit 
any overt act of provocation. 

The fourth of the renowned Dalmatian poets of this 
period was Mavro Vetranic (1482-1576). Son of an old 
patrician family, he entered the Benedictine order and later 
became superior of a very important monastery. Because of 
a difference with one of the ecclesiastics, he retired to a modest 
cloister in an adjoining island and lived as a veritable hermit. 
He never came to the point of giving up his works, or aban- 
doning his relationships with his friends, his disciples or the 
contemporary writers. After his death a number of songs 
and elegies in Croatian, Italian and Latin were composed in 
his honor. He left a collection of mysteries: Posvetiliste 
Abramovo (The Sacrifice of Abraham), Uskrsnuce Isukrstovo 
(The Resurrection of Christ), and Suzana Cista (Susanna the 
Chaste). His language is elegant and pure, his verse easy and 
pleasing. "The Sacrifice of Abraham" is certainly one of the 
best Bible-dramas and one of his chefs-d'eeuvre. The per- 
sonages are well presented and the situations treated with 
acknowledged skill. Certain details show that the author 
knew the popular songs and understood how to apply them. 
There is a very poignant poetic feeling in Sarah's grief over her 
son Isaac, and this recalls in a striking manner the charm of the 
Serbian naricalia (lamentations) : 



42 EARLY JUGOSLAV LITERATURE 

dragi moj sinle, dulice \uvena, 

gizdavi jelence od luga zelenal 
tko mi te usplasi i s majkom razdieli, 

Uo majku ne utazi, da grozno ne cvieli? 
Orle zlatoperi, kamo si poletil? 

Mo majci zaperi u srce jadan stril? 
Paune pozlatan, kud zajde po travi? 

jur ve je treti dan da majku ostavi. 
Moj sivi sokole, mitaru priliepi, 

sto majci na pole srdacce prociepi, 
Kragujce gizdavi, red mi Boga radi 

u koj si dubravi loveci ostao sad? 
Tko mi ce \ubiti tve lice pribilo 

i tebe bluditi vazamsi na krilo? 

O my cherished son, my little well-beloved, 

my beautiful little deer of the green forest ! 
Who hast thee away from thy mother a-frighten'd, 

why didst thou not console mother from grim sobbing? 
My golden-winged eagle, where hast thou flown? 

why pierced the heart of mother with poisoned arrow? 
My golden peacock, where hast thou hidden in grass, 

and now three days is thy mother left all alone. 
My own gray falcon, my ornamented nestling, 

why hast thou torn the heart of forsaken mother, 
My gilded birdling, tell me in the name of God, 

into what forest wert thou lured by the chase? 
Who will for me kiss thy white face 

and take thee to her bosom, oh my wandering son. 

(Posvst. Abram. IV, 2.) 

There is also a poem by Vetranic called Remeta (The 
Hermit) in which he describes with a charming grace the lone- 
some life on his Dalmatian island of St. Andrews. The diction 
is very vivid and realistic, with many metaphors and images. 
In his strange composition Putnik (The Pilgrim), Vetranic 
takes the reader over the mountains, the valleys and the 
solitary places of Dalmatia, and fills in his descriptions with 
historic narratives. This entire poem is a medley, a strange 
tissue of the most unrelated subjects. It is an allegory repre- 
senting man in three stages: in sin, in repentance and in omni- 
science, somewhat similar to Dante's "Divine Comedy" and 
Komensky's "Labyrinth of the World." Besides Putnik, 
Vetranic has several other poems with didactic motifs. 



CHAPTER V 

LYRICS AND DRAMA OF THE l6TH CENTURY 

In the 1 6th century the Ragusan literature continued as in 
the preceding period. Taken as a whole the literature of this 
era reaches its zenith, especially in regard to poetry: lyric, 
epic and dramatic. But besides these forms of poetry there is 
a new one, poslanice (rhymed letters), usually written by 
one friend to another. In addition, there is a new form of 
dramatic poetry, pastirske igre (pastoral plays, Ital. pastorali). 
Tragic as well as comic plays (sa{ive igre) received due atten- 
tion. The poets who have taken the lead in this creative move- 
ment are Andra Cubranovic, Nikola Najeskovic, Dinko Ranina, 
Dinko Zlataric and Marin Drzi6. 

I 

Andra £ubranovi6 (fl. 1535), a native of Dubrovnik, was 
a Dalmatian poet who did not belong to the nobility. Like 
the Italian artist Benvenuto Cellini, he was originally a gold- 
smith, but later deserted this craft and betook himself to that 
of the muses. The most distinctive and best known of his 
works is the Jedupka (literally the "Egyptian", Gypsy Woman) 
published for the first time in Venice (1599) and later in Du- 
brovnik. It is composed of seven parts or cantos, in which 
the Romany woman makes diverse predictions to six young 
ladies in the familiar fashion by telling them their secrets. 
Crevic (Cerva) , a noted Ragusan historian and critic describes 
the production of the Jedupka in this wise: The author 
was on one occasion following a young lady, the object of 
his affections, and urging his addresses, when she turned 
round and said scornfully: Quid porro Egyptius iste? (What 
does that gypsy want with me) . The despised poet and lover 
took up the word of reproach and he wrote this poem. 1 To the 
first five ladies the disguised gypsy predicts the usual good 

1 Quot. by L. Zore, Stari pisci hrvatski, VIII (1876), p. vi, Introd. 



44 EARLY JUGOSLAV LITERATURE 

fortune {dobru sredu), but to the sixth she expresses love and ad- 
miration, although the fair patrician is far removed in station 
above her "fortune-teller." 

It seems very likely that Cubranovic wrote his Jedupka for 
carnival fetes. The Italian carnival was never held without 
some special poetry, or small pieces for the theatre being com- 
posed. 2 These sportive customs were to be found also on the 
eastern shores of the Adriatic. A number of Dalmatian writ- 
ers, Cubranovic among others, wrote these masquerades. 
The Jedupka is certainly one of this sort. We know for a fact 
that this piece was recited in public at Dubrovnik in 1527. 
Cubranovic is very superior to his predecessors, notably in the 
purity of his language and the poetic charm of his narrative. 
His verses are light and vivid, and characterized by rare 
rhymes and many archaisms, which are really ornamentations 
of his poetry. According to Safarik, the Jedupka is a splendid 
flower in the garden of the Jugoslav muses. It was very pop- 
ular in its time, and was imitated by other writers, perhaps be- 
cause it was based on the happy idea of declaring love in 
allusions. For two or three centuries this poem was imitated, 
but none of the imitations equalled the original. 3 

Of Nikola Najeskovic (1510-1587), a native of Dubrovnik, it 
is known that he was not only an author and poet, but a scien- 
tist as well. It is not generally realized that he attacked the 
system of Galileo, 4 but his love songs and especially his come- 
dies and pastorals, which he had performed in his friends' 
houses or on the public stage, live after him. His bucolics and 
his "commedie erudite" are imitations of the Italian, with the 
exception that his vilas (a kind of mischievous sprite) replace 
the ninfe (nymphs) of the Italian writers. He was the first 
who really gave a truly dramatic character to his composi- 
tions. The critics distinguish two kinds of pastorals, those of 

2 Especially was this done in the days of the Medici, when much more 
attention was paid to the mascherate or balli in maschera (masked balls) 
than in modern times. 

3 One of the best studies on Cubranovic and his Jedupka is to be found 
in L. Zore, "O Jedupci Andrije Cubranovica," Rad, XXVII (1874), pp. 53- 
68. See also M. Medini, "Cubranovic und seine Beziehungen zu der ein- 
heim. und der italien. Literatur," Archiv f. slav. Phil. XXII (1900), 69-106. 

4 In his work "Dialogo sulla sfera del mondo." Venice, 1579. 



LYRICS AND DRAMA OF THE l6TH CENTURY 45 

Dubrovnik and those of the Island of Hvar. In both types the 
theme is the same, that of the love of a shepherd for a vila; 
yet some are idyls, some comedies, and some farces. His writ- 
ings are strongly heightened with pastoral and Renaissance 
fancies, but somewhat languorous and overwrought. They 
bear evident marks of unequal workmanship, curtness alter- 
nating with redundance, and carelessness with elaboration. 5 
But his rhymed letters (about 40 in all), directed to Ragusan 
notabilities and his contemporaries, are emotional and full of 
melancholy tenderness. 6 There is no doubt that NaJeskovi6 
influenced his successors. Some of his poems and works have 
been lost; others are fragmentary, and many are more or less 
disfigured by corruptions and disarrangement. Thus the res- 
toration and interpretation of this poet's works is one of pe- 
culiar delicacy and difficulty. 

II 

Another remarkable poet of the sixteenth century is Dinko 
Ranina (1 556-1 607). He was born of a well-to-do Ragusan 
family. Upon returning home from foreign countries, he took 
part in public affairs. He was made president of the republic 
seven times, and wrote extensively in Serbian (about 450 
poems) and Italian (about 30). He is the first of the Ragusan 
poets to introduce eclogues and elegies ; yet love songs are the 
most important part of his work. The character of Ranina 
is reflected in his poems. He was a man of generous impulses 
and a gentle, unselfish disposition. His tenderness and Platonic 
love are enhanced by a refinement and delicacy which are rare 
among his predecessors of the 15th century. If he refers to the 
"shrewish Latin girl" Li via, he does it by way of warning and 
not in any petty spirit of triumph or revenge. Although he 

5 In the English literature Najeskovic has some common features with 
A. Pope {Pastorals and The Rape of the Lock), in Italian with A. Tassoni 
{La secchia rapita), in French with N. Boileau {Le lutrin) and J. Gresset 
{Lutrin vivant and Le Steele pastoral) . 

6 Rhymed letters (Lat. epistolce, Slav, poslanice) had in Ragusa relative 
literary value. Their value depended upon the persons by whom and to 
whom they were written, as well as upon the subject thereof. Vid. Ivan 
Milcetic, op. cit. p. 4. 



46 EARLY JUGOSLAV LITERATURE 

may have been treated cruelly by his love, he does not invoke 
curses upon her head. He goes often to his Nika's grave, which 
is hung with garlands and wet with tears, and bemoans his fate 
to the remains there. Apart from his original poems, 
Ranina's contribution to posterity includes translations 
from Propertius, Tibullus, Catullus, Virgil and many good 
verses from the Greek poets : Theocritus, Maschus, Philemon 
and others. 7 

The ground covered by Rariina in reference to lyrics was 
later extended by Dinko Zlataric (1558-1610). He was born 
at Dubrovnik, finished his studies at the University of Padua, 
and while still very young, being only twenty-three, was 
appointed rector of the University gymnasium (Almae Uni- 
versitatis philosophorum et medicorum Patavini gymnasii rector 
dignissimus) . After having remained for some time in various 
foreign countries, he returned home. 

The poems of Zlataric consist of those published in Venice 
1597, Pesni u Smrt (Poems to Death), mostly epitaphs to his 
friends, and Pesni Razlike (Various Poems), dedicated to the 
Ragusan poetess, Zuzoric, a woman of singular beauty and 
varied accomplishments. In the society of this lady, Zlataric 
found the intellectual sympathy and encouragement which 
were essential for the development of his powers. His poems 
give a very clear image of the social life of Dubrovnik. They 
record the different stages of passion through which the poet 
passed, and show the strong feelings with which he was affected. 
Returning to his birthplace from Zagreb, the capital of 
Croatia, he lived as an equal with the men of the greatest 
intellectual activity and refinement, as well as of the highest 
social and political eminence. 

Among his other works Zlataric twice translated Tasso's 
celebrated pastoral play "Aminta" to which he gave the 
Slavonic name I^ubmir. Later he also translated the Electra 
of Sophocles, and Ovid's Pyramus and Thisbe. 8 Didactic 

7 For various details on Ranina's translations from Latin and Greek 
classics reference should be made to Fr. Maixner, "Prievodi Ranine Dinka 
\z latinskih i grckih klasika," Rad jug. akad. LXX (1884), 196-222. 

8 Taken from Metamorphoses (IV, 55-465). 



LYRICS AND DRAMA OF THE l6TH CENTURY 47 

poetry occupied a large place in his writings as it did in 
that of Ranina. 9 

One of the greatest names among the Ragusan dramatists in 
the period of the Renaissance is Marin Drzic {c. 151 8-1 567) 
who was born of a plebeian family in Dubrovnik. In Jugoslav 
literature this author is compared with Moliere. We are not 
directly concerned here with his dramas, The Book of Jesus 
and Hecuba, which are religious and antiquated. He is more 
attractive in his Tirena and Duho Krpeta, two allegorical plays 
glorifying love. In his J^ubav Venere he reminds us of 
Shakespeare's "Venus and Adonis." To another genre belong 
the comedies Novela od Stanca (The Tale of Stanac), a sympa- 
thetic versified story with much local coloring, and Dundo 
Maroje, a five-act comedy written in prose. Dundo or Uka 
(uncle) Maroje is father of a prodigal son, Maro, who spends 
his youthful days in luxurious Rome with a courtezan of the 
upper class. When the father comes to the city to see his son's 
business, the latter deceives him. In the meantime the father 
plays a trick upon the son and takes his borrowed 
merchandise back home with him. Characteristic comedies are 
Mande and particularly the Skup (Avarus), which was an 
imitation of the "Aulularia" of Plautus, the model of Moliere's 
"L'Avare." Remarkable but not finished are the Arkulin, 
Pomet, and Pjerin. The last one is a "comedy of errors" and 
was based on the "Menaechmi" of Plautus and the "Andria" of 
Terence. 10 

9 The renderings of Zlataric from Tasso are more successful than those 
from Sophocles, although even here he is too liberal in Slavonizing the 
Italian proper names and changing the sense of whole verses. Cf. 
A. Pavic, "Prilog k historiji dubrovacke hrvatske knizevnosti," Rad jug. 
akad. XXXI (1875), p. 148/. 

10 In regard to the origin and character of Drzic's dramas, reference can 
be made to M. Srepel, "Skup M. Drzica prema Plautovoj Aululariji," Rad, 
XCIX (1890), 185/.; P. Budmani, "Pjerin M. Drzica," Ibid. CXLVIII 
(1902), 51 sq.; G. Polivka, "Der Geizige in Ragusa," Archiv f. d. 
Studium d. neueren Sprachen und Lit. (Braunschweig, 1888, pp. 433-42); 
V. Jagic, "Die Aulularia des Plautus in einer siidslav. Umarbeitung aus der 
Mitte des XVI Jahrh." (Festschrift Johannes Vahlen, ch. XXXIII, pp. 615 
sqq. Berlin, 1900); P. Popovic, "M. Drzic i Moliere," Iz MiZevnosk, 
Beograd, 1906. 



48 EARLY JUGOSLAV LITERATURE 

III 

Among the "poetae minores" of the 15th and 16th centuries 
reference must be made to Marko Marulic (1450-1524) and 
Petar Hektorovi6 (148 7-1 567). The former left two religious 
epics, Judith (1521), one of the first printed books in Jugoslav 
literature, Susanna, and several translations (Catonis Dis- 
tichia Moralis, M. Belcari's St. Panuzio, etc.); the latter wrote 
a poem, Ribane (Fishing), and gave new stamina to the old 
Jugoslav literature by including certain national songs 
(bugarstice) , which he heard from popular bards. Stepan 
Gucetic (fl. 1525) composed a parody, Dervis, of 50 sestines, 
a masterpiece of airiness and ingenuity. 11 Nikola Dimitrovic 
(d- J 553) gave us Seven Penitential Psalms (1549) and several 
religious odes called Pesni Duhovne (Spiritual Songs). 
His Pricice (Epigrams) and his rhymed epistles from Alexan- 
dria are characteristic because of their vigorous and realistic 
style. Petar Zoranic (1 508-1 550) is mentioned with his 
pastoral, Planine (The Mountains), and Marin Gazarevic 
(c. 1 580-1 623) with his dramas, J^ubica, a pastoral play, and 
Prikazane sv. Beatrice, Faustina i Simplicija bratje. 12 Juraj 
Barakovic ( 1 548-1 628) wrote Vila Slovinka in thirteen cantos, 
including a folk song "Mother Margareta." We have 
from Brne (Barne or Bernando) Karnarutic (1 553-1 600) 
Vazetje Sigeta Grada (The Capture of Sziget the City) , the first 
epic poem in Croatian literature, 13 and from his confrere, 
An tun Sasin (d. 1640), the epic, Razboj od Turaka (The De- 
struction of the Turks). The latter wrote also two pastoral 
plays, Filida and Flora, and one farce, Malahna, all in the 
style and tone of the comedy of the time. 14 Savo Bobajevic 

11 Appendini, Safarik, Kukujevic and Surmin ascribe this poem to 
Gucetic,. while I. A. Kaznacic, M. Resetar, M. Medini, and P. Popovic 
believe that its author is Stepan Dordic (fl. 1630). 

12 Published by Jugoslav Academy in Stan pisci hrvatskt, XX (1893), 
pp. 219-237. 

13 The first edition of this epic was published at Venice in 1584. Velimir 
Gaj published a new edition with introduction and tumac (glossary) at 
Zagreb, 1866. 

14 Vid. P. Popovic, "Antun Sasin dubrovacki pesnik XVI veka," Glas 
srpske akademije, XC (1912), pp. 1-67. 



LYRICS AND DRAMA OF THE l6TH CENTURY 49 

( I 53 0_I 585) is regarded as the Ragusan Anacreon; he is one 
of the founders of the Akademija Sloznih (Accademia dei 
Concordi), a literary society to which, among others, belonged 
the poetess Cveta (Flora) Zuzoric (1 555-1600), the "Aspasia of 
Ragusa." 

Satire was fostered in Dubrovnik particularly by Miho 
Bunic (d. 1590), who wrote among other things a macaronic 
poem against women, entitled Sedam Opacina (Seven Vices), 
and one drama, Jokasta, founded on the "Phoenissae" of Euripi- 
des. 15 Marin Buresic (c. 15 10-1562) is a didactic poet and 
the translator of Nauci Katonovi (Proverbia Catonis), pub- 
lished in 1562. Frano Lukarevic (b. 1530) left the Atamante 1 * 
and a pastoral, Verni P astir (The Faithful Shepherd), both 
of these dramas patterned after Italian playwrights. Savko 
Gucetic (d. 1603) is the author of the Dalida, which resembles 
Shakespeare's "Romeo and Juliet," and the Ariadna, which was 
adapted from the Italian writer Vincenzo Giusti. 

15 See A. Leskien, "Zur Jokasta des M. Bunic," Archiv f. slav. Philol. V 
(1881), 628 sq. 

16 Cf. M. Resetar, "Das original des Atamante," Ibid. XXIV (1902), 
pp. 205-209. 



CHAPTER VI 



GUNDULIC AND HIS TIMES 



In the succeeding (17th) century the Ragusan literature 
attained its greatest height. Lyrics, drama and epics are 
more developed than in the preceding century, especially epic 
poetry. The drama becomes ampler in quantity and more 
refined. The pastorals and comedies almost entirely disap- 
pear. Classicism is the basis of the literature of this time. It is 
interesting to note that poetry changes even in its external 
form; in the previous two centuries the verse was mostly of 
twelve syllables and here it is of eight. The classic represen- 
tatives of this period are Ivan Gundulic, Junije Palmotic, 
and Ivan Bunic. 

I 

Ivan Gundulic (1 588-1638) is the greatest epic poet of the 
Jugoslav littoral and was not unjustly styled rex Illyrici car- 
minis, since he was the best representative of the golden age of 
Ragusan literature. He was born in Dubrovnik on the 8th of 
January, 1588, of a prominent cultured family. His father 
was president of the Republic and gave him an excellent edu- 
cation. In 1609 he entered the civil service and later occupied 
high positions in the Republic as commissioner, justice and 
senator. He was married in 1628 and had three sons one of 
whom was also a poet. In 1622 Gundulic published Suze Sina 
Razmetnoga (The Tears of the Prodigal Son), an elegy on the 
well-known biblical theme, and in 1628 his most original play, 
Dubravka, was acted at Ragusa with great success. With 
this beautiful pastoral Gundulic became the poet of freedom 
and patriotism. Of no less significance are his still extant 
dramas: Ariadna, Proserpina, Dianna, Armida, and his 
metrical tale, ^ubavnik Sramez\iv (The Bashful Lover). The 
last one is his only amatory poem and tells the old story of the 
timid lover who sent his declaration to his sweetheart in a bil- 
let-doux. Yet his principal claim for notice by posterity is his 



GUNDULIC AND HIS TIMES 5 1 

Osman, a masterpiece which his contemporaries declared im- 
mortal, and which remains today the honor of Jugoslav litera- 
ture and the most remarkable work of the Ragusan period. 
Gundulic, it seems, sought a subject which, lending itself 
to the art of poetry, would glorify the Slavonic race and espe- 
cially his beloved fatherland. Indeed, what more prolific 
and richly endowed motif could he have chosen than that of 
the war of 1621 between Poland and Turkey, in which the 
Moslems received such a severe check in their invasion of 
Europe! His epos is composed in the Italian style of that 
time. It is clear that he wished to take for his models Ariosto 
and Tasso, particularly the latter. Other passages prove that 
the writer was inspired by Virgil, Horace, Ovid and Homer, 
The inevitable errors of the pseudo-classicism of the century 
are evident. But leaving aside some other colder imitations, 
the work of Gundulic is full of beauties of the first order. He 
carefully studied the events of which he wrote and the geog- 
raphy of the country through which he was to take his reader. 
He knew the history, not only of Poland and Dalmatia, but of 
all the Slavs and especially of the Southern Slavs, the richness 
of whose literature inspired in him an eloquent pride. He felt 
himself to be a Slav, and all the fibres of his being trembled at 
the thought of the decisive struggle in which Christians were 
engaged against Mohammedans, and the Slavs against the 
barbarians. This patriotism found its expression in magnifi- 
cent descriptions of the romantic Balkan scenery at Kosovo, 
Marica, Smederevo, and Dubrovnik. Of the latter city he 
sings: 

Ah, da biu vikjakno sade 
Bvio miran i Slobodan 
Dubrovnile, bieli grade, 
slavan svietu, nebu ugodan! . . . 

Jos sred usta \uta zmaja, 
i nokata biesna lava, 
oko tebe s'oba kraja 
slovinska je sva drzava. 

Robovi su tvoji susedi, 

' teske sile svim gospode; 
tve vladane samo siedi 
na i>risto\u od slobode. . . 



52 EARLY JUGOSLAV LITERATURE 

Oh, mayst thou live as now thou dost, 
a-tune with freedom, peaceful town, 
thou castle white, thou heaven's trust, 
Dubrovnik, city of renown ! . . . 

Though still within the dragon's mouth, 
to fierce and fiery lions a mate — 
yet round thee spreads from north to south 
the all-pervading Slavic state. 

Neighbors to thee, the bondsmen are, 
oppressive violence grinds them all — 
beyond great powers near or far 
thou art our freedom's seneschal. . . 

(Canto VIII, vv. 569/.) 

To realize the epoch-making character of the Osman, it must 
be remembered that it was the first epic anticipating the 
unification of the Southern Slavs. It sings of the kings 
of the Nemana family, the bans of Bosnia and Croatia, with 
the same enthusiasm as it glorifies the patrons of Dubrovnik. 
The poet apostrophizes the heroism of Milos Obilic, Marko 
Krajevic and Herceg Stepan. He personifies George Branko- 
vic with his twelve sons as the "Jugoslav Laocoon." Accord- 
ing to his poetic imagination even Alexander the Great is a 
Serbian (Srblaniri) because he ruled Macedonia, which later on 
was inherited and governed by the Serbians: 
U pjesan se stavi odavna 
od Lesandra Srb\anina 
vrh svih cdrd c&ra slavna. . . 

It was written in the song long ago 
of Alexander the Serbian 
a glorious emperor above all emperors. , . 

(Canto III, vv. 66-68.) 

As Gundulic did not keep aloof from political life he was 
profoundly moved in the sphere of government, religion, 
morals and human feelings which were then changing the 
world. In uttering the enthusiasm of the hour, and all the 
new sensibilities that were stirring in his own heart, he had 
divined at the decisive turn of Slavdom what the future would 
disclose. He had more sympathy for the national ideals 
than any of the earlier Jugoslav writers. The effort of 
the preceding generation (Cubranovic, Vetranid, Sasin) to 



GUNDULIC AND HIS TIMES 53 

attain a mastery of form and of artistic execution had 
failed. It was left for this poet to bring diction and rhythm to 
as high a pitch of artistic perfection as had ever been attained 
before him. The structure and diction of the Osman is a large 
and varied instrument. The supremacy of this poet among all 
the poetic artists of his country is in that subtle fusion of the 
music and the meaning of language which touches the most 
secret springs of emotion. He evokes the emotions of rever- 
ence and of yearning for a higher spiritual life, and the sense of 
nobleness in human affairs. These and other qualities of his 
genius make him by universal acknowledgment the greatest 
literary artist which Dubrovnik produced. l 

II 

The contemporary of Gundulic was Junije Palmotic (1606- 
r 657)> who was also descended from a noble family of Dubrov- 
nik. In his youth he began to compose verses in Latin, but 
Gundulic persuaded him to give up such sterile work. He 
then started to study with ardor the Jugoslav language. Be- 

1 Gundulic wrote eighteen works, of which eleven were dramas. 
Most of them perished during the earthquake and fire of 1667. His Osman 
in 20 cantos (in stanzas of four lines of eight feet) was printed for the first 
time in Ragusa in 1826, but two cantos (XIV-XV) are lost. It is generally 
believed that the Ragusan Senate suppressed them from consideration for 
the Sultan, the protector of the Republic, those two songs having been 
violently anti-Turkish. They were replaced later by fine compositions of P. 
Sorkocevic (1749-1828) and Ivan Mazuranic (1814-1890). The best edition 
of the complete works of Gundulic was published by the Jugoslav Academy 
of Sciences and Arts (Stari pisci hrvatski, vol. IX, Zagreb, 1877). Important 
contributions to biography and textual criticism on Gundulic are contained 
in the following treatises: F. M. Appendini, "Memoria sulla vita e sugli 
scritti di Gian Francesco Gondola," Ragusa, 1827; A. Jensen, Gundulic und 
sein Osman, 1900; M. Ban, "O Ivanu Gundulicu," Glas srpske akade- 
mije, IV (1888), pp. 1-32; A. Pavic, "O kompoziciji Gunduliceva Osmana," 
Rad jug. akad. XXXII (1875), 104/.; L. Zore, "O kompoziciji Gunduli- 
ceva Osmana," Ibid., XXXIX (1877), 151 ff.; "Alegorije u Gundulicevoj 
Osmanidi," Idem, Ibid. XCIV (1889), 199 ff.; F. Markovic, "Esteticka 
ocena Gunduliceva Osmana," Ibid. XLVI, XLVII, L, LII (1879-80); R. 
Brandt, "Istoriko-literaturnij razbor poemi I. Gundulica Osmana," Kiev, 
1889; M. Resetar, "Die Metrik Gundulic's," Archiv f. slav. Philol. XXV 
(1903), 250 ff.; Ossip Makowej, "Beitrage zu den Quellen des Gundulics- 
chen Osman," Ibid. XXVI (1904), 71-100. 



54 EARLY JUGOSLAV LITERATURE 

cause at Dubrovnik the national dialect was changed by its 
mixture with Italian, he went to Bosnia where the Slav spirit 
had been kept most pure. There he applied his clever talent 
to many different things. But he did not prove himself capable 
of great originality in the choice of his subjects, although he 
was one of the most prolific writers in the Ragusan period. 

Four of his important dramas are Pavlimir, Danica, 
Bisernica and Captislava. Narratives connected with the 
founding of Dubrovnik inspired his Pavlimir. This is a sort 
of Ragusan "Aeneid," Pavlimir corresponding to Aeneas. He 
comes from abroad, founds the city of Dubrovnik, marries 
the beautiful Margareta, whom he discovers there, and 
becomes otac slovenskog naroda (the father of the Slavonic 
people). The Danica is a dramatized episode from Ariosto's 
"Orlando Furioso" (IV-VI), transplanted and acclimatized to 
the Bosnian and Ragusan soil. Danica is the enslaved daugh- 
ter of the Bosnian king, Ostoja. She was saved by the Ragu- 
san knight MatijaS, who later became the ban of Croatia. 
Some motifs of this play are akin to Shakespeare's comedy 
"Much Ado About Nothing." Captislava is less historic and 
more fantastic; the chief r61es are played by ghosts and 
nymphs. Captislava (read: Tsaptislava) is the daughter of 
the King of Captat (Tsaptat or Epidaurum). She is in love 
with the Hungarian prince, Gradimir, but the father wants her 
to marry a Serbian prince. A nymph helps her in this cabal, 
and she elopes with the Hungarian prince, while her sister mar- 
ries the Serbian prince. 2 The Bisernica is still more fantastic. 
It is virtually the continuation of the Captislava, and almost 
all important r61es are played by vilenice (nymphs) and 
vilenici (dragons). 

In addition to these four dramas, in which Palmotic cele- 
brated the exploits of Slavic heroes, he wrote several imita- 
tions based on Latin and Italian sources. Thus the material 
for his Alcina was taken from Ariosto, and for the Armida 
from Tasso. The mythological play Atalanta is based on 
Ovid's "Metamorphoses" (bk. X), and the Natecaiie UjaZa i 

2 On the text of this drama, see the article of R. Brandt, "Prinos k tekstu 
Palmoticeve Captislave" in the Grada za povest kriizevnosti hrvatske, IV 
(1904), pp. 150 ff. 



GUNDULIC AND HIS TIMES 55 

Ulisa (The Racing of Ajax and Ulysses) on the same work 
(bk. XIII). However, Ovid was the model not only for these 
two dramas, but for a third, Elena Ugrablena (The Raped 
Helen) . His Lavinia and Dosastje od Enee k A nkizu (The Com- 
ing of Aeneas to Anchises) are two dramatic compositions of 
which the subject-matter was borrowed from Virgil's "Aeneid." 
To this category of dramas belong also the Achilles, following 
the "Achilleis" of P. Statius, and the tragi-comedy, Hypsipyle, 
relating to episodes in the "Argonautica" of V. Flaccus. 

Upon the whole, Palmotic was unquestionably a poetic and 
dramatic creative force, but he was not a genius who was able 
to reject the traditional form and create a new one. He man- 
aged to get more from the old materials than any one else be- 
fore him, and in certain directions he even added something 
new. His biographers say that he was a marvellous improvis- 
ator, and a master of all the resources of the harmonious Ser- 
bian language. His songs and satires were quite the rage in 
society. While one person was singing a verse, he was com- 
posing another, more entertaining and gay. His early educa- 
tion had left deep traces on him. Religious feeling inspired 
his earliest work Christiada and most of his lyric poems. The 
Christiada was printed in 1670. It is an epic of twenty-four 
cantos. Its content is a mixture of Christian traditions and 
remnants of Greek, Latin and Slavic mythology. It was pat- 
ently remodelled on the similar work of Marco Vida (an Italian 
poet of the sixteenth century) with a large number of remanie- 
ments or rehandlings. In Jugoslav letters this poem has 
about the same claim as Klopstock's "Messias" in German 
and Milton's "Paradise Lost" in English literature. 3 

One of the best Ragusan lyric poets of the 17th century is 
Ivan Bunic (d. 1658). There are few documents dealing with 
his life. It is known that he was a nobleman who occupied 

3 The complete works of Palmotic have been edited by the Jugoslav 
Academy {Stari pisci hrvatski, vols. XII-XIV, XIX, Zagreb, 1882-4, 1892). 
A summary bearing on the text and interpretation of his dramas and poems 
is given by M. Resetar, "Zur Textkritik von Palmotic's Dramen," Archiv 
f. slav. Philol. XV (1893), 381 ff. "Zur ersten Ausgabe des Christias des J. 
Palmotic," Id. Ibid. XXIV (1902), 209 ff.; A. Pavic, "Junije Palmotic," 
Rad jugosl. akad. LXVIII (1883), LXX (1884); Ivan Kasumovic, "Izvori 
Palmoticevih drama Ipsipile i Akila," Ibid. CLVI (1904), pp. 135 ff. 



56 EARLY JUGOSLAV LITERATURE 

a high position in public service, and he received the title of 
Vir multarum artium et consumati judicii. He wrote a collec- 
tion of love songs entitled Plandovana (Otiosities), several 
eclogues, P astir ski Razgovori (Pastoral Conversations), one 
book of sacred poems, Pesni Duhovne (Spiritual Songs) 
and one epic, Manda\ena Pokornica (Magdalene the Penitent). 
The lyrics of Bunic are in more perfect form than the 
poetry of his predecessors of the 16th century. He was able to 
combine with spiritual delicacy and fineness of perfection, 
that humanitas, which is so essential to the poets of the 
Renaissance. His eclogues are modelled on the "Idyls" of 
Theocritus, but the names of the personages (^ubdrag, ^u- 
bica, Radmilo, Raklica, Zagorko, Zorka, etc.) are Jugoslav. 
These pastoral songs, for the most part, express the sentiment 
inspired by the beauty of human relationships and the world 
at large. They suggest the charm of Dalmatia, the fresh life 
of the Ragusan spring, the delicate hues of the wild flowers and 
the quiet beauty of the pastures and orchards of his native 
district. His Spiritual Poems are mostly reflections on God, 
man and life. They are pleasing, philosophical, and sublime. 
Magdalene the Penitent is the same Mary Magdalene who was 
mentioned by the Evangelists 4 as the "sinner" out of whom 
"seven devils were gone forth." As Gundulic divided the 
Tears of the Prodigal Son into three placa (bewailings) , so 
Bunic divided his poem into three cvi\ena (wailings). The 
first one sings of the entrance of Magdalene to the church, 
where she sees Christ and begins to weep, confessing her sins 
and anointing his feet. In the second wailing Mary goes to 
the house of one Simon, where she again finds Jesus, and where 
she moistens his feet with her tears, and wipes them with her 
hair, and Jesus says to her : Tebi gresi su oprosteni, jer si mnogo 
lubila (Unto thee are thy sins forgiven, for thou hast loved 
much). In the third canto she sees Christ crucified, assists at 
the entombment, and witnesses his resurrection. At last she 
has a vision, and talks with Him. The poem includes some 
splendid lyric passages full of the purest religious fervor. 

4 The New Testament, Luke, VII, 36-50; VIII, 1-3; X, 39; John, XI, 
2,5,32; XII, 3; XXII, 11, 16; Matth.,XV, 39; XXVI, 7; Mark, XIV, 
3; XVI, 1. 



THIRD PERIOD 

THE AGE OF DECLINE 
CHAPTER VII 

THE ACADEMIES AND SOCIETIES 

I 

In the 1 8th century Jugoslav literature began to decline, 
not only in Ragusa but also in the other provinces. Serbia 
proper was under the domination of the Turks; Croatia and 
Slovenia, under Austria, while the Republic of Dubrovnik, after 
the terrible earthquake of 1667, was reduced in wealth and 
population. Besides, Ragusa was suffering from the vexatious 
attitude of the Venetians and the Turks, who were conspiring 
together for the destruction of the last Antemurale Christiani- 
tatis in the Balkan Peninsula. So long as the Ragusan com- 
monwealth was independent and vigorous, Slavonic life rested 
on the identity of the man with the citizen. The city state, 
as in old Greece and later in Rome, was the highest unit of 
social organization. 1 The whole training and character of the 
man were planned for his membership in the city. The 
market-place, the assembly, the "academies" were places of 
frequent meetings, where the sense of citizenship was quick- 
ened, and where common standards of opinion or feeling were 
formed. Poetry, music, sculpture, literature and art, in all 
their forms, were matters of public interest. The cultural 
achievements of Dalmatia reached their apex in the 17th 
century. No doubt many exquisite works were produced 
at a later period, but they do not exhibit any creative talent, 
and more or less conspicuously belong to the decadence 

1 Cf. Ivan Smirnov, "Gorodskija obsciny Dalmacii v X-XI veke," 
2,urnal ministerstva narodnago prosvescenija, cast 214, pp. 289-306, April, 
1 88 1. See also his study, "Otnosenija Venecii k gorodskim obscinam 
Dalmacii s XII do poloviny XIV veka" (1880). 



58 EARLY JUGOSLAV LITERATURE 

of Ragusan learning. The only new literary phenomenon of 
the period was the rise of a school of history, chronology and 
biography. The eighteenth century bears a peculiar stamp. 
It is the century of compilations, researches, copying and com- 
menting upon the manuscripts, collecting the materials and 
preserving them for future generations. 

For literary and scientific purposes there were founded 
at Dubrovnik in the 1 8th century several societies or "acade- 
mies." As indicated above, one of these societies existed even 
in the 16th century, the Akademija Sloznih. Now there 
were four more societies. One was the Akademija Dangubnih 
(Academia Otiosorum), founded at the end of the 17 th and 
continued in the 18th century. Its president or director was 
for a certain time Ignat Dordic, and its founder Dura Mati- 
jevic (1669-1728), linguist and satirist. 2 The members of the 
Academy were: Ivan Aletic Natali (d. 1743), lexicographer; 
Stepo Rusic (d. 1770), author of Petar Aleksievic, an epic 
glorifying the reforms of Peter the Great and Russia at large; 
Ignat Gradic (1655-1728), author of the Flam Severski 
(Northern Glow), also an apotheosis of Russia and the 
"northern hero," i.e., Peter the Great; Bernardo Zuzoric 
( 1 683-1 762), a Jesuit orator who left us Besede Duhovne 
(Spiritual Sermons); Frano Lalic (d. 1722), who wrote 
Bestuzanstvo (Indolence), a philosophical and didactic com- 
position; Vicentije Petrovic (1 677-1 754), a lyrist; 3 Ivan 
Bunic, Jr., born in 1662, died in 17 12, who was several 
times president of the Republic, and from whom remained 
only a few translations of the Latin poets. 

Another society was the Akademija Pokladnih (Academy 
of the Bacchanals). Its membership is not definitely known. 
More important than this was the Akademija od Sturaka 
(Academy of the Crickets), founded in 1719 in opposition to 
the Academy of the Otiosi. Its president was Frano Getaldic 
(fl. 1650) and the founders, An tun Gledevic and P. Kontistid. 
This academy did not have such a reputation as the Academia 

8 Some of Matijevic's poems have the following titles: Women in the 
Present Times; A Little Poem in Praise of Shrews; Against Worldly Love. 

1 For his biography and some of his Latin poems, see Dura Kerbler, Rad 
jug. akad., lib. 186 (191 1), pp. 185 ff. 



THE ACADEMIES AND SOCIETIES 59 

Otiosorum neither because of its works nor because of its mem- 
bers. At times it was the laughing-stock of the town. — The 
Akademija Slovenskog Jezika (Accademia della Lingua Slava) 
was also a literary society, with its seat not in Ragusa 
but in the eternal city of Rome. Its main goal was the cultiva- 
tion of the Slavonic languages and literature. It appears that 
the members of that society were in correspondence with the 
Academy of the Otiosi. 

II 

As said before, the president of the Academy of the Otiosi 
was Ignat Dordic (1 675-1 737). His name however was not 
known so much in connection with that position as through 
his poems, his religious compositions and his historical writings. 
While still a youth he studied rhetoric, poetry and philosophy, 
perfecting his philologic knowledge of Greek, Latin and French. 
Entering the great council in his twentieth year, he had the 
intention of marrying, as he was the last male descendant of 
his family. Later he changed his mind and went to Rome 
where he entered the Jesuit order and remained about eight 
years. Returning home he lived as a man of letters. In 1706 
he entered the Benedictine order, changing his first name from 
Nikola to Ignat. After that time he travelled several times to 
Italy (Naples, Padua and Venice) for scientific and literary 
researches. One of his works is in Latin, Vitae et Carmina 
nonnullorum illustrium civium Ragusinorum, edited by the 
Serbian Academy of Sciences and Arts (1905). It is one of the 
best sources for the biographies of the Ragusan authors. 
Other works are in Serbian, but unfortunately some of them 
have remained in manuscript form, especially the love songs, 
written before he entered the order of Jesuits. Like his pre- 
decessor Bunic, he wrote Eclogues, but with somewhat better 
success than the latter. He left two epic poems, Uzdasi 
Mandalene Pokornice (Sighs of Magdalene the Penitent) and 
Pripoves od Kra\a Selimira (The Story of King Selimir), one 
parody, Marunko i Pavica, written in the style of Guceti6's 
"Dervi§," and one drama, Judith (not finished). He made the 
best and most complete translation of the Psalms, Saltir 
Slovenski (The Slavonic Psalter). He turned into Serbian 



60 EARLY JUGOSLAV LITERATURE 

verse the prayers of St. Thomas Aquinas, Razlike Pesni 
Duhovne (Various Spiritual Songs), Virgil's "Aeneid" (first 
book), and works of some Italian writers. 

Of all these writings the most important is the Sighs of 
Magdalene the Penitent, composed about 1705 and published in 
1728. The material which Dordic took for his Magdalene is a 
little different from Bunic's. 4 His poem is based on a legend 
which took root in the Latin Church during the Middle Ages. 
According to this tradition, Mary Magdalene belonged to a 
wealthy family at Magdala and Bethany; she abused all her 
admirable gifts to tempt others to sin, and after the Ascension 
she remained at Bethany till the disciples were scattered by 
persecution which followed the martyrdom of Stephen. 
Mary, her sister Martha, and her brother Lazarus, with some 
other companions were placed in a boat by their persecutors 
and were providentially carried without oars or sails 
to Marseilles, where by their preaching and miracles they 
converted the heathen. Lazarus was made bishop, while 
Mary, remembering her sins, retired to the wilderness and lived 
a life of extreme asceticism for thirty years. Finally she was 
carried up to heaven in the arms of ascending angels. 5 The 
story is extended and dilated by Dordic into eight cantos or 
uzdisana (the sighs) with 681 strophes. The metrical structure 
of this poem is not always regular, but the diction is vivid 
and light, with ample antitheses and rhetorical figures. It is 
not without significance that one of his contemporaries pro- 
nounced it the best poem of its time. For more than two 
centuries no real attempt has been made to supplant it — with 
few attempts to correct or add to it even a line. 6 

4 See supra. 

6 Vid. "De S. Maria Magdalena apud Massiliam," in the Acta Sanctorum, 
Julii, V (1868), 188 sa. 

6 M. A. Vidovic translated this epic into Italian, Sospiri di Maddalena 
penitente (1829). Of the Italian authors who cultivated the same theme are 
Antonio Alemanni (or Alamanno) with his comedy, La rappresentazione 
delta conversione di Santa Maria Maddalena (1521), and Erasmo da Valva- 
sone (1523-1593) with his epic poem, Lagrime di santa Maria Madda- 
lena. Of modern European plays dealing with the same subject the 
most popular are Paul Heyse's Maria von Magdala (1899) and Maurice 
Maeterlinck's Marie Magdaleine (1910). 



CHAPTER VIII 

THE MORALISTS AND MINOR AUTHORS 

I 

The faint flame of Jugoslav literature flickered out before 
the 1 8th century had reached its close. Intellectually, it was 
certainly not a glorious century in Illyria's (Jugoslavia's) 
development, and yet there had been some germs of vitality 
and elements of promise in it. What might have happened 
had the nation been spared the desolation of the Turkish 
inroads, it would be difficult to say, but it is certain that the 
general unrest produced by the wars retarded the growth of 
literature. The main fact is that the Jugoslav people fell into 
a slavish imitation of the customs and ideas of foreign countries. 
The Croatians imitated the Italians, the Slovenians both the 
Italians and the Germans, and the Serbs, Orthodox in religion, 
imitated the Russians. That this period of imitation and 
assimilation lasted so long was due to the untoward political 
and social conditions. However, some indications of a revival 
of intellectual life could be found in a period of romanticism, 
which was soon followed by a rationalistic movement. This 
however agitated at first the surface of national life, and 
its real significance was perceived only in the succeeding 
century. The principal representatives of these movements, 
who are at the same time the first Jugoslav moralists, are 
Andra Kacic Miosic and Dositije Obradovic. 

Andra Kacic Miotic (i 702-1 760) is the Jugoslav Percy 
and the first national bard. He was born in Brist, Dalmatia, 
and as son of a country gentleman, had to go to the monastery 
of Zaostrog for his first education. Later on he studied 
philosophy and theology at Buda-Pest. Returning home he 
became lecturer on the same subjects in the city of Sibenik. 
Being interested in Jugoslav folklore, as a public-spirited man 
he travelled in his spare time from town to town and took 
notes of national traditions. In this way he wrote his Razgovor 
Ugodni Naroda Slovenskoga (Pleasant Talk of the Slavonic 
People), a book of 260 poems, or Pesmarica (The Book of 



62 EARLY JUGOSLAV LITERATURE 

Songs), as it was popularly called. 1 These Razgovors are not 
real folk songs, but only historical narratives, collected and 
written in the ballad-style of the medieval minstrels and 
Russian kobzars. In addition to almost every one of his 
ballads the author gives commentaries on the Slavonic 
countries, and records in prose by chronological order the 
heroes they produced. He strengthened the Jugoslav idea of 
national consciousness, and his work soon became one of the 
most popular among the masses. 2 His main characteristics 
are purity of language and simplicity of style. In 1764 his 
Pesmarica was translated into Latin, Descriptio Soluta, by 
Emerico di Budua (Emerik Pavic). Miosic wrote other books 
(Elementa Peripatetica, pub. 1752, Kordb\ica, pub. 1836), but 
they are of less literary value. 

Associated with Miosic as moralist and popular writer was 
the philosopher Dositije Obradovic (1742-1811), the founder 
of the rationalistic school in Serbian literature. He was born 
in Cakovo, Banat, the son of a furrier. At first he 
was apprenticed to a trade, but later proceeded to the 
monastery of Hopovo, Syrmia. 3 Here he spent considerable 
time, and became a monk, changing his original name Dimi- 
trije into Dositije. Showing more aptitude for learning than 
consecration to the Church, he escaped from the cloister and 
visited Croatia, Dalmatia, Montenegro, Corfu, Greece, and 
Asia Minor. He learned Latin, Italian and Greek, and 
studied the moral and philosophical sciences which flourished 
at that time among the Greeks. Still wishing to study and 
acting as a private teacher, he visited Germany, France and 
England, and made the acquaintance of their languages and 
literatures. 4 In 1806 Obradovic returned to Belgrade, now the 
capital of Jugoslavia, where he ended his days as an educator 

1 It was first published in Venice, 1756, ten years prior to the publication 
of the famous Percy's Reliques of Ancient English Poetry (1765). 

2 P. Solaric (see infra) called him najveci iliriceski pesmotvorac (the 
greatest Jugoslav poet), although he never pardoned him for using skjavet 
or schiavet (i.e., Latin letters in Slavonic words) instead of Cyrillic. Quoted 
by N. Andric, Rad jug. akad., lib. 150 (1902), p. 163. 

3 See T. Ostojic, Dositej Obradovic u Hopovu (1907). 

4 During his stay in England he extensively read Swift, Pope and Addi- 
son (Spectator and Vision of Mirza). In some of his letters he gave good 



THE MORALISTS AND MINOR AUTHORS 63 

and man of letters, much as Emerson, with whom he has 
some points in common, did at Concord, Mass. 

The life of Obradovic is an example of a real self-made man, 
one of those noble spirits who begin with nothing and succeed 
by their extraordinary perseverance. He takes rank among 
the foremost Jugoslav writers who mastered the philosophical 
rationalism of the 18th century. He left several works. 
The first and perhaps the finest one is his autobiography, 
Zivot i Prik}ucenija (Life and Adventures), written in the 
vernacular as spoken in Serbian towns. It was published in 
1783 and is full of didactic eloquence and abiding enthusiasm 
for letters and sciences. The work abounds in vehement 
protests against the ignorance and the idleness of the monks, 
which he had experienced personally, and which destroyed 
one of the most cherished ideals of his youth. It imme- 
diately made a great impression on his contemporaries, and 
soon was followed by the publication of the Saveti Zdravoga 
Razuma (Counsels of Pure Reason) and especially by his 
Fables of Aesop and Other Writers (1788). The Saveti are a 
collection of essays which rise into the region of moral and 
religious meditation. The fables (basne), of which some are 
taken from Phaedrus, Lessing and La Fontaine, are accom- 
panied by long original commentaries or naravoulenija 
(morals), written in a lively and interesting manner for the 
practical life of his readers. To him belongs the credit of 
being the first who introduced fable-writing not only into 
Serbian but into Slavonic literature in general. 5 In 1803 he 
published Ethics or Moral Philosophy, one of the most remarka- 

accounts of the literary and social life of England in the eighties of the eigh- 
teenth century. He had especially well-founded opinions on English women 
and girls, characterizing them as extremely beautiful creatures (prekrasna 
slvorena). He says further: "If I had a thousand eyes, I would not be 
tired looking at them for a thousand years! The longer you look, the hand- 
somer they appear to you. Do you wish to be safe, go straight on your 
way, do not glance at them, for if you only raise your eyes towards them and 
look, you couldn't proceed farther; you will remain there forever. . ." 
(Zivot i priklulenija Dimitrija Obradovita, II, 1893, P- IQ 6 — Srpska 
knizevna zadruga, n. 8). 

6 In this way Obradovic was the forerunner of the illustrious Russian 
fabulist, Krylov, whose fables appeared about fifty years later. 



64 EARLY JUGOSLAV LITERATURE 

ble of his speculative works. His compositions Pervenac 
(First Essay) and Mezimac (Last Essay) are of no high merit. 
The writings of Obradovic enjoyed an excessive popularity 
at the time of his death, but since then they have undergone 
apparent diminution, and will probably continue to decrease 
in popularity. This eminent philosophical reformer and 
prosvetitel (enlightener) was a very honest man — no sophist, 
no rhetorician. In a lucid, intelligible and convincing style, 
he placed before Jugoslav readers views of an advanced 
character, with the value of which he was sincerely impressed. 
However, as to the durability of his books, he is fervid with- 
out being exhilarating, heartfelt without being convincing. 
Skeptical, precise and plain, his books inspire respect, but 
unfortunately do not attract new generations of admirers. 6 

II 

In the 17th and 1 8th centuries literature was cultivated in 
the Southern Slav provinces by a great many persons who 
have no place at all, or but a secondary place, in the history 
of the development of style. They must not, however, be 
entirely overlooked, and for practical purposes they may be 
divided into three classes. Firstly, there were those who 
continued to imitate their predecessors in poetry. Secondly, 
there were those who had something to say about scientific 

6 The complete works of Obradovic have been published several times. 
The first edition is by G. Vozarevic, in 10 vols., Beograd-Kragujevac, 1833- 
1836; second edition, Zemun, 1850; third ed. by Narodna Biblioteka Brace 
Jovanovica, Pancevo, 1882-1884; fourth State ed. by J. Skerlic, Beograd, 
191 1. The selections of his works were published by Srpska knizevna za- 
druga of Belgrade as follows: Zivot i Priklucenija, I— II (1893); Basne, 
I (!895), II (1896); Domaca Pisma (1899); Izbor iz Poulnih Sastava 
(1904). There are in Jugoslav and foreign languages many accessible essays 
bearing on the life and works of Obradovic; some of the best of these are: 
And. Gavrilovic, Dositije Obradovit, kriizevne rasprave, novi prilozi, misli i 
beleske, Beograd, 1900; K. Radcenko, Serbski pisatel Dositej Obradovic 
i jego literaturnaja dejatelnost, Kiev, 1897; Ibid. "Einige Bemerkungen 
iiber das Leben und die literarische Thatigkeit Dosithej Obradovic's," 
Archiv f. slav. Philol. XXII (1900), pp. 594 ff.; M. Sevic, Dositheus Obra- 
dovic, ein serbischer Aufklarer des XVIII Jahrhunderts, Leipzig, 1899; 
Ivan Sercer, "O Dositeju Obradovicu," Rad jug. akad., lib. 134 (1898), 161- 
189; L. Leger, "La renaissance intelectuelle de la nation serbe: Jean Raitch 
et Dosithee Obradovitch," Journal des savants, Sept.-Oct. 191 1. 



THE MORALISTS AND MINOR AUTHORS 65 

speculation. Thirdly, there was the mass of miscellaneous 
writers, historians, autobiographers, chroniclers, translators, 
and the like, who with infinite patience and self-satisfaction 
built up the secret history of the age or helped to preserve its 
documents. Concerning these lesser writers of the republic 
of letters, it is to be confessed that their writings present 
no features of great interest, apart from the facts or the ideas 
with which they deal. Every one of them has a tendency to 
wordiness; all become tedious at last from their untiring 
sinuosity. They are didactic and scholastic in their attitude 
to literature; their ambition makes them often cumbrous, 
and they are delightful only when some gleam of human 
experience seduces them into forgetfulness. Everything 
points to the necessity of relieving Jugoslav literature by ele- 
ments of lucidity, brevity and grace — those qualities, in fact, 
which one can find only in the authors of the 19th century. 
The writers who mostly attract our attention after the earth- 
quake in Dalmatia are Petar Kanavelic (1637-17 19), Jaketa 
Palmotic (1 623-1 680), V. Pucic (d. 1666), Vladislav Mencetic 
(d. 1666) and An tun Gledevic (1659-172 8). Kanavelic and 
Palmotic are the poets who sought motifs for their poems in 
the disaster of 1667 and in the deeds of arms. The latter, 
wrote an epic, Dubrovnik Ponov}en (Ragusa Renewed), in 
twenty cantos. Gledevic is the author of several dramas, of 
which the more important are Zorislava, Ermiona, Olimpia, 
Belizario } and Damira. 7 Traces of historic events are also to 
be found in the poems of Petar Zrinski (1621-1671) and 
Frano Krsto Frankopan (d. 1671), two Jugoslav patriots and 
martyrs, who were decapitated by the Habsburgs in Vienna 
(167 1). They are followed in epics and historic works by Pa vie 
Vitezovic (1652-1713), Jeronim Kavanin (c. 1640-1714), and 
Matija Rejkovic (1 732-1 798). All these poets were highly 
ideal in their conceptions and strongly patriotic, with an 
ardent love of liberty. 8 

'The complete works of this author are published by the Jugoslav 
Academy (Start pisci hrvatski, vol. XV, 1886). 

8 Kavanin's epic Bogatstvo i uboltvo (Riches and Poverty), consisting of 
32,658 verses in thirty cantos, was published with introduction by Ivan 
Kukujevic at Zagreb, 1861. 



66 EARLY JUGOSLAV LITERATURE 

In prose composition, as in poetry, the national spirit is 
marked by an abundant output. Among the historians most 
deserving of notice is Mavro Orbin (d. 1614), whose II Regno 
de gli Slavi is a monumental work. 9 It is distinguished by 
clearness of exposition and is the first attempt to deal with the 
history of the Slavs as a comprehensive whole. 10 Other his- 
torians are Ivan Valvazor (1641-1693), who dealt with the 
geography and cultural history of Slovenia, and Juraj Kri- 
zanic (1617-1680?), the father of Pan slavism (Sveslavenstvo) , 
whose historical and politico - economic writings, done 
in Russian, contain much interesting information about 
the social life of all Slavonic peoples. 11 George Brankovic 
(1645-1711) wrote a chronicle of over 2,000 pages, which 
remained in MS. form and was only partially published after 
his death. Like Krizanic he was an ardent partisan of Russia, 
and as such an object of suspicion to the Austrian Court, 
which kept him in prison for many years until he died. 12 With 
him must be mentioned Jovan Rajic (1726-1801), who wrote 
the History of the Serbs, Croats and Bulgars, the first systematic 
work on the past of the Jugoslavs, and Hristifor Zefarovic 
(d. 1753), whose Stemmatography for a long time has been 
regarded as the best book on Slavonic heraldry. The works of 
other historians, Vasilije Petrovic (1709-1766), Miho Milisic 
(1711-1798), Adam Krcelic (17 15-1778), and Jovan Muska- 
tirovic (1 743-1 809), are of only local importance. 

The men of science who deserve to be remembered are 
Marin Getaldic (1 566-1 627), Ruder Boskovic (i7ii?-i787), 
Manojlo Jankovic (1758-1792), and Atanasije Stojkovic 
( 1 773-1 832). For a time Getaldic held the chair of pro- 
fessor of mathematics in the University of Louvain. His 

9 The Russian translation of this work, Istoriografija polatija imene 
Slavy, was made by Theofan Prokopovic, and published in Petrograd, 1722. 

10 This work was one of the principal sources from which Gundulic took 
material for his epic Osman. 

11 The Panslavistic teaching and adventures of Krizanic are extensively 
treated by V. O. Kluchevsky in his History of Russia, III, 12, pp. 255 ff. 
(English translation, London, 1913); see also Iv. Kukujevic in his Arkiv 
zapovesnicu jugoslovensku, X (1869), pp. n-75. 

12 Vid. Gavrilo Vitkovic, "Kriticki pogled na proslost Srba u Ugarskoj," 
Glasnik srpskog ucenog drustva XXVIII (1870), pp. 133 ff. 



THE MORALISTS AND MINOR AUTHORS 67 

book Promotus Archimedis was written in Latin and published 
in Rome, 1603. He is said to have applied algebra to 
geometry before Descartes, and to have been the first to effect 
equations of the fourth degree. Boskovic was a pattern of the 
blended erudition that distinguishes the eighteenth century 
scholarship. He is one of the first savants who adopted New- 
ton's gravitation theory. Born at Ragusa, he studied mathe- 
matics and physics at the Collegio Romano. In 1764 he 
was called to the chair at the University of Pa via, and in 1773 
was appointed Director of Optics to the French Ministry of 
Marine at Paris. His most important works are Theoria 
Philosophiae Naturalis (1758), expounding the molecular theory 
of matter as well as his philosophical principles, and Opera 
Pertinentia ad Opticam et Astronomiam, which appeared in 
1785 in five volumes quarto. In addition to these he published 
Elementa Universae Matheseos (1752), the substance of the 
course of study prepared for his pupils, and De Solis ac Lunae 
Defectibus (1760) in 5,000 lines. 13 Jankovic and Stojkovic 
were contemporaries of Boskovic, but the intellectual distance 
between these men is so great that they seem to belong to dif- 
ferent ages. 14 The superficial essay, Fizifeskoe Solinenie 
(Treatise on Physics) of Manojlo Jankovic cannot be 
compared in any way with the brilliant treatises of Getaldic 
or Bo§kovic. 

13 The peculiarity of this last work, which makes it unique in Jugoslav 
literature, is that it is a reasoned system of philosophy and natural phe- 
nomena, written in Latin verse, and in the special strain of De Rerum Natura 
by Lucretius, the poet and physicist. The poem as a whole shows such 
unrelieved intensity of thought and feeling coupled at times with sombre- 
ness that Delambre, his rival in physics, characterized it as "uninstructive to 
an astronomer and unintelligible to any one else." Sources for the life of 
Boskovic abound in Italian, French and English archives. On the occasion 
of his centenary (1887), the Jugoslav Academy devoted three volumes of 
its main organ (Rad) to the memory of the great scientist, including the 
biography, bibliography and criticism of his works. (See "2ivot i ocena 
dela Rudera Josipa Boskovica, uspomeni prve stogodisnice smrti negove," 
Rad jug. akad., vols. 87, 88, 90, Zagreb, 1887-88.) 

14 Manojlo Jankovic was more noted as a philosopher and man of letters 
than as a scientist. He was a native of Novi Sad, Banat, and his critics 
regard him as a rude precursor of Vuk Karagic, the reformer of Serbian 
language. 



68 EARLY JUGOSLAV LITERATURE 

III 

Works of a religious tendency were written by the following 
authors: Matija Divkovic (d. 1631), Bartolomej Kasid 
( I 575 -l6 5o)» Tomaz Hren (1 560-1 630), Atanasije Grgicevic 
( 1 590-1 650), Juraj Habdelic ( 1 609-1 678), Matija Kastelec 
(1623-1688), Pavle Posilovic (d. 1651), Vid Andrijasevic 
(d. 1688), An tun Kanizlic of Pozega (1 700-1 777), Blaz 
Kumerdej (1 738-1 805), Vicentije Raki6 (1750-1818), Ivan J. 
Luci6 Pavlovic-Makaranin (1758-18 18), Emerik Pa vie (1716- 
1780), Tomas MiklouSic (1 767-1 855), and Juraj JapeJ (1744- 
1807). The last is the reputed translator of the whole Bible 
into the Slovenian vernacular, Svetu Pismu Stariga {in Novega) 
Testamenta (1784-1802). Before JapeJ, the Scripture was 
translated by the famous Slovenian reformers, Primoz Trubar 
( 1 508-1 586), with many Germanisms, and Juraj Dalmatin 
( I 55 0_I 589), who translated it into pravi slovenski jezik (the 
true Slovenian language). But their translations are colored 
by Luther's teaching, while the popular version of JapeJ is 
made for the Catholics. The works of these first theologians 
have many times been the cause of vehement dogmatic contro- 
versies, which have never ceased in Jugoslavia among the 
ecclesiastical writers. 

In the domain of linguistic production, there were many 
works written during this period, but they show little origi- 
nality and much foreign influence. Through the whole 1 8th 
century Serbia was indirectly under the sway of Russia, or 
rather of the Russian Orthodox Church. 15 In the meantime 
Slovenia and Croatia, owing to their dependence on Austria 
and Hungary, were moulded by the Roman Catholic Church. 
Of the Jugoslav authors who followed the Russian models it is 
worth while to mention Zaharija Orfelin (1 726-1 785), Grigorije 
Trlajic (1 766-1 811), and Pavle Solaric (1781-1821). Orfelin 

16 Hence the expression Russo-Slavonic language, which was not readily 
understood by the Serbian reading public, and which through the influ- 
ence of the living dialect began later to approach nearer to Serbian than to 
Russian, and was called Slaveno-Serbski (Slavo-Serbian). In the 19th 
century this artificial literary jargon was superseded by the modern 
Serbian language due to the efforts and reforms of Vuk Karagic. 



THE MORALISTS AND MINOR AUTHORS 69 

was the editor of the first Jugoslav review, Slaveno-Serbski 
Magazin (1768). Trlajic, the "Slavonic Xenophon" as D. Obra- 
dovi6 called him, is the translator of Marcus Aurelius, Fenelon 
("Telemaque") , and some German authors. Solaric was a 
gifted pupil of Obradovic. He left several translations from 
German, French, Italian and English, as well as some original 
linguistic and geographical essays. 16 

The works of Croatian and Slovenian authors, like the Ser- 
bian, hardly contributed anything towards progress in linguis- 
tic science and literature. Among them are Ivan 2iga Popovi6 
(1705-1774), and Marko Pohlin (1735-1801), who wrote 
grammars, dictionaries and other books for the Slovene popula- 
tion in Carniola and Carinthia. The Franciscan monk, Lovro 
j^ubuSki (c. 1 713), is the author of Gramatica Latino-Illyrica 
(1742), a discourse of minor philological value. Of especial 
interest is Tito Brezovacki (1 754-1 805), comedist and poet, a 
man endued with an intellect pellucid and brilliant. He wrote 
in Latin as well as in Croatian (erroneously called "Slavonian" 
from the province of Slavonia). Many satirical poems were 
published in the periodicals of that time. In both his ribald 
songs and comedies he applied his rare powers of observation 
to studying the peculiarities of every class of people, their 
humors, prejudices and passions. To all these he knew how 
to appeal with exquisite propriety. His play Matijas Grabancijas 
Dak (Matijas the Magic Student) was the first Croatian book 
written in stokavski dialect — the dialect which later was ac- 
cepted as the literary language in all Jugoslavia. 

16 How much Solaric was influenced by English literature is difficult to 
say. His translation Mudro\ubac Indijski (The Indian Philosopher) is from 
a French book, "L'art de vivre heureux dans la societe," and this is only an 
extract from the famous Chesterfield's "Letters." See N. Andric, Rad 
jug. akad., lib. 150 (1902), p. 143. 



CHAPTER IX 



EPILOGUE 



The literature of the Southern Slavs in the period of de- 
cline (18th century) does not appear much superior in its 
genre to the church literature of the first period. We have 
seen that in early stages of Serbian society the art of writing 
was monopolized by monks and priests. These ecclesiastics 
were the first who attained a distinct literary utterance, 
in their translations of the Scriptures and their chronicles of 
national religious development. Their sacred books, canons, 
biographies, apocrypha and epic rhapsodies supplied a stan- 
dard of literary taste. But these literary monuments, being 
only pale semblances of the extensive Grecian literature, 
remained sterile and without any wider influence. They were 
destitute of ideas and sentiment, and served as the pleasure of 
a small caste of noblemen. They did not have the slightest 
influence either on the people or on the Renaissance writers 
of the Adriatic coast. There are several political and religious 
causes for this exclusiveness, but one of the most evident is 
the dualism of language and orthography. The medieval 
Serbian literature was written in the Old Slavonic dialect 
which was not easily intelligible to the masses of the people, 
as Latin (sermo urbanus) became a sealed book to the 
Italian and French people (who spoke sermo rusticus). On the 
other hand, the Renaissance literature of Dubrovnik was 
written with the Latin alphabet and this was not acces- 
sible to the eastern Jugoslav authors, who used exclusively 
the Cyrillic script, not only in the 1 8th but even in the 19th 
century. These centrifugal forces acted disastrously on 
Jugoslav literature at large and created a tribal particularism 
and confusion of which traces are still extant. 

The Slavonic revival of the Ragusan period did not 
produce Petrarchs, Calderons, Ronsards, and Chaucers. The 
chief representatives of the age, Si§ko Mencetic, Marin 
Drzi6, Gundulic and Palmotic, were great on the human but 
weak on the artistic side. They have in full measure the 
energy, the sincerity and the strong feeling which are necessary 



EPILOGUE 71 

for the creation of a literary work, but they lack the sense of 
form which is required to perfect the artistic conception. It 
is not too much to say that no work of magnitude by any 
writer of the Jugoslav Renaissance is constructed on a precon- 
ceived plan. Most of them write as their mood prompts them; 
they give free rein to their emotion and thus become its 
slaves instead of its masters. They compose poems and dramas 
too fluently and too easily, without having sufficiently refined 
their ideas in the crucible of imagination, without having trans- 
muted the rough ore into the gold of poetry. They go on 
writing after their inspiration is exhausted, and as a rule 
inspiration comes to them only in short passages. It is need- 
less to multiply instances. The artistic execution of these 
men of letters surpasses their artistic conception, but it is the 
execution of gifted amateurs rather than of trained artists. 
For all their admiration for Greek poetry, our classicists failed 
to learn from their masters the lesson of self-restraint, simpli- 
city, and moderation, of patient and accurate workmanship. 

This failure to realize the classical ideal of literary art was 
due to the lack of the critical spirit. The Ragusan authors 
formed practically a literary school among the members of 
which existed great personal friendship. And we know from 
experience that friendship and solidarity are a hindrance to 
originality; mutual admiration is fatal to self-criticism. To 
create this spirit of rational criticism was the work of Dositije 
Obradovic. But he came too late ; his spiritual and intellectual 
force was turned in another direction. The work of Obra- 
dovic was perfected by Vuk Karagic, Dura Danicic, and 
kudevit Gaj. These men brought into connection the two 
branches of the Jugoslav people by employing to a consider- 
able extent both the Cyrillic and Latin alphabets. They also 
used themes drawn from the culture of both divisions of 
the people. In this way Jugoslav literature became national 
in spirit, as the works of these reformers and their followers 
were accepted as classical. But to trace the history of that 
new development of the nineteenth century, to investigate the 
various causes which made Jugoslav literature national instead 
of provincial, social instead of individualistic, rational instead 
of imaginative, lies beyond the scope of the present treatise. 



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ed. ch. IX, pp. 151-170. London, 191 1. 
Mitrovic, B. Studi sulla litteratura serbo-croata, pp. 1-118. Firenze, 1903. 
Morfill, W. R. "The Literature of the Serbians and Croats," Westminster 

Review, CIX (1878), pp. 303-327. 
. Slavonic Literature. London, 1883. (In the series: The 

Dawn of European Literature.) 
Murko, Matthias. "Geschichte der altern sudslavischen Literaturen." 

(In Die Literaturen des Ostens, Bd. 5, Abt. 2.) Leipzig, 1908. 



BIBLIOGRAPHY 75 

. "Die siidslavischen Literaturen." (In Die Kultur der Gegen- 

wart, von P. Hinneberg, I, 9, pp. 194-245, Berlin u. Leipzig, 1908.) 
Novakovic, S. Istorija srpske knizevnosti. Beograd, 1867, 2 ed. 1871. 

(Russian version, 1877.) 
. Mali izvod iz istorije srpske knizevnosti, za Visu zensku skolu. 

Beograd, 1867. (With Old Slavonic specimens.) 
Ostojic, T. Srpska knizevnost, od velike seobe do Dositeja Obradovica. 

Sr. Karlovci, 1905. 
Pechan, Antun. Povest knizevnosti hrvatske za ucitjeske pripravnike, pp. 

1-96. Zagreb, 1878 (2 ed. 1883, 3 ed. 1896). 
Popovic, Pavle. Jugoslovenska knizevnost. Cambridge (England), 1918, 

2 ed. Belgrade, 1920. 
. "Literature." (In A. Stead, Serbia by the Serbians, ch. XXI, pp. 

320-336, London, 1909.) 
. Pregled srpske knizevnosti. (Stara knizevnost; narodna knizev- 
nost; dubrovacka knizevnost.) Beograd, 1 ed. 1909, 2 ed. 1913. 

(Russian version, 19 13.) 
PrijateJ, Ivan. Istorija najnovije slovenacke knizevnosti. Letopis matice 

srpske, lib. 243 (1907). 
Pypin, A. N., i W. D. Spasowicz. Istorija slavjanskih literatur. (Petrograd, 

1865, 2nd ed. 1879-80, French trans, by E. Denis, Paris, 1881; 

German trans, by T. Pech, Leipzig, 1880-83.) 
Ristic, Jovan. Die neuere Literatur der Serben. Berlin, 1852. pp. 1-47. 
Simic, 2. P. Lekcije iz istorije srpske knizevnosti. Beograd, 1890. (2 ed. 

1897.) 
Simonic, Fr. "Die slovenische Literatur." In the collection Die Slovenen, 

von Josef Simun, pp. 123-172. Wien, 1881. 
Skerlic, Jovan. Istorija nove srpske knizevnosti. Beograd, 1912. (Larger 

edition, 19 14.) 

. Srpska knizevnost u XVIII veku. Beograd, 1909. 

Stanojevic, Stanoje. Histoire nationale succincte des Serbes, des Croates et 

des Slovenes. Paris, 191 8. 
Stepovic, A. Ocerki istorii serbohorvatskoj literatur y. Kiev, 1899. 
Subotic, J. Einige Grundziige aus der Geschichte der serbischen Literatur, 

pp. 1-56. Wien, 1850. 
Safafik, P. J. Geschichte der slavischen Sprache und Literatur nach alien 

Mundarten. Ofen, 1826. (2 ed. Prague, 1869.) 
. Geschichte der siidslavischen Literatur. Herausgegeben von Jos. 

Jirecek. Prag, 1 864-1 865. Bd. I. Slovenisches und glagolitisches 

Schriftthum (1864); II. Illirisches u. kroatisches Schtm (1865); 

III. Das serbische Schtm (1865). 
Surmin, Dura. Povest knizevnosti hrvatske i srpske. Zagreb, 1898. (With 

illus., facsim. and ports.) 
Vulovic, Svetislav. Nauka o knizevnosti i izucavane slovenskih knizevnosti, 

pp. 1-19. Beograd, 1882. 



INDEX 



Abgar's Epistles, 24 
Abraham, 23, 41 
Academies (societies) 

Dangubnih, 58 

Jugoslav, 53, 55, 65, 67 

Pokladnih, 58 

Serbian, 48, 53, 59, 73 

Slovenskog Jezika, 59 

Sloznih, 49, 58 
Achilles (drama), 55 
Acta Sayictorum, 60 
Acts of the Apostles, 24 
Adam, v. Narratives of 
Addison ("Spectator"), 62 
Adriatic, 9, 29, 33, 36, 44, 70 
"Aeneid," 54/., 60 
Albania, 30 
Albanians, 4 
Alcina (of Palmotic), 54 
Aleksandrov, A., 20 
Alemani(Alamanno), A., 60 
Aletic, Ivan Natali, 58 
Alexander the Great, 18, 52 
Alexandria, 19, 48 
Allegories, 19, 42, 53 
Alphonse V (king), 38 
America, 31 

American Philos. Soc, 8 
"Aminta" (of Tasso), 46 
Anacreon, 49 
Ancona (city), 31 
"Andria" (of Terence), 47 
Andric, Nikola, 8, 62, 69, 73 
Andrijasevic, Vid, 68 
Andronicus II (emperor), 31 
Angles, 3 

Apocalypse of Baruch, 23 
Apocrypha, 22jf., 70 
Apostolus of SiSatovac, 14 
Appendini, F. M., 48, 53, 73 



Archiv (f. slav. Philologie), 8, 20, 23, 
28, 37, 39, 44, 49, 53, 55, 64, 73 
Aretino, Pietro, 33 
"Argonautica" (of Flaccus), 55 
Ariadna (of Gucetic), 49 
Ariadna (of Gundulic), 50 
Arkiv (za pov. jug.), 14, 18, 26, 66 
Arkulin (of Drzic), 47 
Ariosto, 51, 54 

Aristotle ("Hist. Animal."), 19 
Armida (of Gundulic), 50 
Armida (of Palmotic), 54 
Armenian sect, 2 1 
Arts, 15, 29, 35, 56/. 
Aryan languages, 7, 9 
Asia Minor, 21, 62 
"Aspasia of Ragusa," 49 
Assen II (emperor), 31 
Atalanta (of Palmotic), 54 
Atamante (pastoral), 49 
Athos (peninsula), 25 
"Aulularia" (of Plautus), 47 
Aurelius, Marcus, 69 
Austria, 30, 57, 66, 68 
A varus, v. Skup 
Avril, Adolphe d\ 12 

B 

Babuni, v. Bogomils 

Badalic, Hugo, 73 

Baldwin I (emperor), 31 

Balkan mines, 32 

Balkan Peninsula, 4, 11, 33, 57 

Balkan scenery, 51 

Balkan Slavs, 8 

Ballads, v. Folk songs 

Ban, Matija, 53 

Banat, 62, 67 

Banska (monastery), 26 

Barakovic, Juraj, 48 

Barbary, 31 



78 



EARLY JUGOSLAV LITERATURE 



Bartholomew, v. Questions of 

Baruch, v. Apocalypse of 

Bashful Lover, v. I^ubavnik 

BaUanska Plola, 13 

Bavaria, 13 

Belcari, M. ("St. Panuzio"), 48 

Belgrade (capital), v. Jugoslavia 

Belizario (drama), 65 

Besede Duhovne (sermons), 58 

Bestiaries and lapidaries, 19 

Bestulanstvo (Indolence), 58 

Bible, 11/., 23, 56, 68, 70 

Bible-dramas, 41, 47/. 

Bilbasov, V. A., 12, 13 

Biographies, 12, 26, 37, 59, 63, 67 

Bisernica (play), 54 

Bobajevic, Savo, 48 

Boccaccio, 36 

Bogatstvo i UboHvo (epic), 65 

Bogdanovic, David, 73 

Bogomils, 20jf. 

Bogosluzebnye Kanony, 16 

Boka Kotorska, 30 

Bosnia, 13, 18, 21, 31, 33, 52, 54 

Bosporus, 31 

Boskovic, Jovan, 73 

Boskovic, Ruder, 66jf. 

Book of Alexander, 18 

Book of Enoch, 23 

Book of Jesus (of Drzic), 47 

Book of Songs, v. Pesmarica 

Books of magic, 22 

Brandt, Roman, 53/. 

Brankovic, G. (author), 66 

Brankovic, G. (despot), 32, 52 

Brist (village), 61 

British peoples, 3 

Brizinski Spominki, 13 

Broz, Ivan, 73 

Brskovo (mint), 33, 34 

Brugmann, Karl, 8 

Bryce, James, 16 

Buda-Pest, 61 

Buddhism, 21 

Budmani, Petar, 47 

Bugarstice, v. Ballads 



Bulgaria, 10, 12, 20, 26, 31 
Bulgarian history, 21, 66 
Bulgarian invasions, 31 
Bulgarian origin, 22 
Bulgarian translations, 18 
Bulgarian veracity, 21 
Bulgarian versions, 26 
Bulgarians, 2, 8/., 66 
Bulgaro-Slavonic, 9 
Bulgars (short), v. Bulgarians 
Bunic (Bona), Ivan, 50, S$ff., 60 
Bunic (Bona), Ivan, Jr., 58 
Bunic (Bona), Miho, 49 
Buresic, Marin, 49 
Burr, Malcolm, 73 
Bury, J. B., 21 
Byzance, 22, 35/. 
Byzantine Empire, 31 
Byzantine influence, 4, 35 
Byzantine literature, 22 
Byzantine States, 34 
Byzantine style, 16 



Calderon (author), 70 

Calisthenes (Pseudo-), 18 

Camblak, Gregory, 26 

"Canzoniere," v. "Slavonic Can." 

Captat (Epidaurum), 30, 54 

Captislava (play), 54 

Carinthia, 69 

Carniola, 69 

Carostavnik (chronicle), 26 

Carpathians, 4 

Catholic Church, 9, 11, 68 

Catonis Distihia Moralis, 48 

Catullus, 46 

Cellini, Benvenuto, 43 

Cerva, Elias L., v. Crevic, Ilija 

Cerva, Seraphinus, v. Crevic, Saro 

Chalcondylas, Demetrius, 36 

Charles, R. H., 23 

Chaucer, 20, 70 

Chesterfield ("Letters"), 69 

Chilandar (monastery), 11, 25/. 

Christ, 19, 23/., 41, 47, 56 



\ 



INDEX 



79 



Christiada (epic), 55 
Christian canons, 22 
Christian Church, 15 
Christian poets, 17 
Christian superstitions, 24 
Christian traditions, 55 
Christian Trinity, 21 
"Christian Pindar," 17 
Christianity, 4, 12, 21, 57 
Chronicles, 14, 18, 26, 33, 66, 70 
Church books, 8/., 17 
Church Slavonic, v. Old Slavonic 
Cicero, 36 

Civilization, 4, 5, 28, 30, 35, 38 
Clarence (duchy), 31 
Classical ideals, 70 
Classical models, 5 
Classical writers, 37, 50 
Classicism, 50/. 
Codex Marianus, 13 
Codex Suprasliensis, 14 
Codices, 13/., 16, 27 
Columbia University, 20 
Comedies, 43/., 47, 50, 69 
Commerce, 29/., 35, 38 
Concord (Mass.), 63 
Conquest of Illyria, 4 
Conquest of Serb State, 5 
Constantine, v. St. Cyril 
Constantinople, 16/., 31, 34, 36 
Corfu, 62 

Creizenach, W., 36 
Crevic, Ilija (poet), 37 
Crevic, Saro (critic), 43, 73 
Critoboulos, v. Kritoboulos 
Croat (short), v. Croatian 
Croatia, 35, 46 

Bans of, 52, 54 

Byzantine influence, 35 

Latin influence in, 29 

Literature in, 5 

Part of Jugoslavia, 3 

Under Austria, 57 

Visited by Dositije, 62 

Zagreb, capital of, 46 
Croatian authors, 69 



Croatian dialects, 39 
Croatian elegies, 41 
Croatian first book, 69 
Croatian first epic, 48 
Croatian language, 3, 10, 41 
Croatian literature, 48 
Croatian monuments, 13 
Croatian songs, 41 
Croatian text books, 9 
Croatian wars, 39 
Croatians, 4, 9/., 29, 61, 66 
Croato-Glagolitic, 9 
Culture, 25/., 36, 57, 71 
Customs, 3, 29, 35, 38, 44, 61 
Cyril, v. St. Cyril 
Cyrillic, 8, jo, 70/. 



Cakovo (village), 62 

Casopis (musea ceskeho), 24, 74 

Cech Bible, v. Bible 

Czechoslovaks, 2 

Crncic, Ivan, 14 

Cubranovic, Andra, 43#., 52 

D 

Dalida (play), 49 

Dalmatia, 9/., 12, 18, 29/., 35, 36, 

42, 5i, 56/., 65 
Dalmatin, Juraj, 68 
Damira (drama), 65 
Danica (play), 54 
Danicic, Dura, 8, 14, 17, 26/., 71 
Danilo (archbishop), 26 
Dante, 20, jj, 42 
Dares the Phrygian, 18 
Descartes, 67 

Decani (monastery), 11, 26 
Decanski, v. Life of 
Delambre, 67 
Dervil (parody), 48, 59 
Descriptio Soluta, see Pesmarica 
De Solis (of Boskovic), 67 
Deva Dues (hymn), 17 
Dialects, 3, 5, 7/., 29, 54, 69 
Dianna (of Gundulic), 50 



8o 



EARLY JUGOSLAV LITERATURE 



Diction, 53, 60 
Dictes of Crete, 18 
Dimitrijevic, M., 35 
Dimitrovic, Nikola, 48 
Diocleus, v. Dukjanin 
"Divine Comedy," 42 
Divkovic, Matija, 68 
Dobrovsky, Josef, 12 
Documents, v. Monuments 
Dolci, v. Dulcius 
Domaca Pisma (of Dositije), 64 
Domentijan, 26/f. 
Dragutin (king), 26 
Dramas, 36, 41, 43/., 54/., 65 
Drzic (Derza), Dore, 38$". 
Drzid, Marin, 47^., 70 
Dubravka (pastoral), 50 
Dubrovnik Ponov\en (epic), 65 
Dubrovnik (Ragusa), 13, 70 

Academies of, 58/f. 

After the earthquake, 57 

Architecture of, 35 

Celebrities of, 37 

City state of, 57 

Decline of, 57/. 

Fall (Pad) of, 30 

Foundation of, 30, 54 

Golden age of, 50 

Italy and, 31 

Latin civilization in, 35 

(Literary) school of, 38, 71 

Lyrics and dramas in, 43 

Part of Jugoslavia, 30 

Patrons of, 52 

Relations with America, 31 

Relations with Venice, 30, 57 

Satire fostered in, 49 

Serbia and, 31 

Visited by Dusan, 32 
Dukjanin, Pop, 14 
Dulcius (Dolci), Sebastian, 73 
Dummler, E., 12 
Dusan (emperor), 27, 32 
Dutch influence, 10 



D 

Dordic, Ignat, 39, 58, 59/. 
Dor die (Giorgi), Stepan, 48 
Duho Krpeta (play), 47 
Durdevi Stubovi (monastery), 26 



Eastern Church, 15, 21 
Eastern Europe, 35 
Eastern Roman Empire, 31 
Eastern Slavs, 9, 28 
Eclogues, 45, 56, 59 
Edessa, 24 

Education, 25, 50, 55, 61 
Egypt, 31 
Electra, 46 
Elegies, 41, 45, 50 
Elementa Peripatetica, 62 
Elementa Universae, 67 
Elena Ugrafyena, 55 
Emerson, 63 
Emotions, 15, 40, 53, 71 
England, 3, 22, 62/. 
English archives, 67 
English girls, 63 
English Historical Review, 16 
English literature, 45, 55, 69 
English poetry, 62 
English tongue, 3 
English translations, 23, 66 
English women, 63 
Enoch, v. Book of 
Epics, 43, 50/., 58/., 65 
Epidaurum, v. Captat 
Epigrams, v. Pricice 
Epirus, 31 

Epistles, v. Poslanice 
Ermiona (drama), 65 
Essays, 64, 67, 69 
Ethics (of Obradovic), 63 
Ethiopia, 22 

Euripides ("Phoenisoe"), 49 
Europe, 2, 18/., 35, 37 
European nations, 1, 3 
European plays, 60 
Evangelium Zographensis, 13 



INDEX 



81 



Fables, 19, 63 

Fancev, Frano, 73 

Faithful Shepherd, v. Verni Pastir 

Fenelon ("Telemaque"), 69 

Fishing, v. Ribane 

Filida (pastoral), 48 

Fiume, v. Reka 

Fiziceskoe Socinenie, 67 

Fiziolog, 19/. 

Flacus ("Argonautica"), 55 

Fletcher, Jefferson B., 35 

Flora (pastoral), 48 

Florence, 30 

Fojnica (mine), 33 

Folklore, 5, 61 

Folk songs, 48, 62 

France, 22, 62 

Franko, Ivan, 25 

Frankopan, Frano Krsto, 65 

Frankopans, 27 

French archives, 67 

French book, 69 

French (language), 59 

French (literature), 45 

French people, 70 

French translation, 27 



Gaj, kudevit, 71 
Gaj, Velimir, 48 
Galicia, 4 
Galileo, 44 

Galleria di Ragusei illustri, 73 
Gaster, M., 11 

Gavrilovic, Andra, 26, 64, 73 
Gazarevic, Marin, 48 
Geitler, L., 10, 13 
Genealogy, v. Rodoslov 
Geography, 1, 11, 51, 66, 69 
Georgius, Ignatius, v. Dordic 
German authors, 69 
German clergy, 9 
German literature, 55 
German miners, 33 
German savants, 8 



Germanism, 68 

Germano-Balto-Slavonic; 7 

Germans, 21, 61 

Germany, 22, 62 

Getaldic, Frano, 58 

Getaldic (Ghetaldus), Marin, 66/. 

Gibbon, E., 21 

Ginzel, J. A., 12 

Giusti, Vincenzo, 49 

Glagolita Clozianus, 13 

Glagolitic (script), 8/. 

Glagolitic literature, 29 

Glas (srpske akademije), 48, 53 

Glaser, Karol, 73 

Glasnik (srpskog ucenog drustva), 

17/., 24/., 31, 34, 66 
Gledevic, Antun, 58, 65 
Gliubic, Sima, v. ^ubic 
Godilnica (Nikole Cupica), 25 
Golden age, 18, 50 
Gospel of Miroslav, 13 
Gospel of Nicodemus, 24 
Gospel of Nikola, 14 
Gospel of Rheims, 13 
Gospel of St. Thomas, 23 
Gothic, 7, 9, 35 
Gradic, Ignat, 58 
Grada (za pov. kniz. hrvat.), 54 
Gramatica Latino- Illy rica, 69 
Grcic, Jovan, 73 
Greece, 4, 57, 62 
Greek books, 32 
Greek classics, 46 
Greek (hymns), 17 
Greek literature, 1 1 
Greek mythology, 55 
Greek originals, 20 
Greek poetry, 71 
Greek poets, 46 
Greek script, 8 
Greek sources, 18 
Greeks, 4, 22, 36, 62 
Gresset, J., 45 
Guarini, Giambatista, 36 
Gucetic (Gozze), Savko, 49 
Gucetic (Gozze), Stepan, 48 



82 



EARLY JUGOSLAV LITERATURE 



Gundulic (Gondola), Ivan, 56, 66 

Dubravka (pastoral), 50 

Osman (epic), 51 

Summary of, 53 
Gypsy Woman, v. Jedupka 

H 

Habdelic, Juraj, 68 

Habsburgs, 65 

Hauser, Otto, 73 

Hecuba (of Drzic), 47 

Hektorovic, Petar, 48 

Helena (queen), 26 

Henry (emperor), 31 

Heraldry, 66 

Hercegovina (Hum), 21 

Hermit, v. Remeta 

Heyd, W., 31 

Heyse ("Maria von Magdala"), 60 

Hilferding, A., 12 

History, if., 29, 37, 58, 65/. 

Historians, 8, 13, 43, 66 

Holbrook, R. T., 20 

Homer, 51 

Hopovo (monastery), 62 

Horace, 51 

Hrabr (mnih, monk), 7 

Hren, Tomaz, 68 

Hum, v. Hercegovina 

Humanism, 32, 37, 56 

Hungarian prince, 54 

Hungary (Ugarska), 31, 66 

Hvar (island), 45 

Hymns, 15/. 

Hypsipile (tragi-comedy), 55 

I 
Ichnilat, see Stephanit 
Idyls, 45, 56 
Illyria, 4, 32 
Illyrian Kingdom, 30 
Illyrian tribes, 4 
Illyrians (Albanians), 4 
Illyrici carminis rex, 50 
Imitations, 11, 33, 44, 47, 51, 54 
Indian fables, 19 



Indian Philosopher, v. Mudro\ubac 

Indies, 32 

Indo-European, 7 

Indolence, v. BestuZanstvo 

Isaiah's Vision, 23 

Islam, 21 

Italian archives, 67 

Italian authors, 60 

Italian carnival, 44 

Italian civilisation, 5 

Italian legends, 12 

Italian literature, 45 

Italian nationalism, 37 

Italian people, 70 

Italian playwrights, 49 

Italian sources, 54 

Italian States, 34 

Italian style, 51 

Italian translations, 60 

Italians, 61 

Italy, 5, 31. 35#-. 59 

Izbor iz Poucnih Sastava, 64 

J 
Jackson, T. G., 35 
Jagic, Vatroslav, 8, 10, 13, 18, 23, 

25, 27, 32, 38/., 47, 74 
Jankovic, Manojlo, 66/. 
Japel, Juraj, 68 
Jaroslav, v. Pravda of 
Jedinorodni Sine (hymn), 16 
Jedupka (of Cubranovic), 43/. 
Jensen, Alfred, 53, 74 
Jeremiah (Bulgarian priest), 23 
Jeremiah, v. Paralipomena of 
Jerusalem, 23 
Jesuits, 59 
Jirecek, Constantin (Konstantin), 8, 

21, 28, 33/., 37, 39 
Jirecek, Josef K., 25, 75 
Jokasta (drama), 49 
Journal des savants, 64 
Judith (of Dor die), 59 
Judith (of Marulic), 48 
Jugoslav Academy, v. Academies 
Jugoslav apocrypha, 24 



INDEX 



83 



Jugoslav authors, 4, 68, 70 
Jugoslav culture, 25 
Jugoslav folklore, 61 
Jugoslav greatest poet, 62 
Jugoslav history, 29, 66 
Jugoslav idea, 62 
Jugoslav tribal institutions, 4 
Jugoslav language, 39, 53 
Jugoslav literature, 4, 24, 51, 71 

Classicists in, 37^. 

Decline of, $yff. 

Division into periods, 5 

Dualism of orthography, 70 

First printed book, 48 

First review in, 69 

Masterpieces in, 48, 51 

New movement, 2<)ff. 

Rationalism in, 61, 63 

Remote period of, 22 
"Jugoslav Laocoon," 52 
Jugoslav literary history, 5 
Jugoslav littoral, 50 
Jugoslav martyrs, 65 
Jugoslav moralists, 61/. 
Jugoslav muses, 44 
Jugoslav names, 56 
Jugoslav origin, 22 
Jugoslav patriots, 65 
Jugoslav people, 3, 61, 71 
Jugoslav Percy, 61 
Jugoslav provinces, 3, 21 
Jugoslav Renaissance, 71 
Jugoslavia, j, 61, 68 

Ancient laws of, 27/. 

Belgrade, capital of, 62 

Literary language of, 69 
Jugoslavs, 2ff. t 18, 26, 28/. 
Justinian (emperor), 16 



Karasek, Josef, 74 

Karnarutic, Brne, 48 

Kastelec, Matija, 68 

Kasumovic, Ivan, 37, 55 

Kasic, Bartolomej, 68 

Kavanin (Cavagnini), Jer. 4, 65 

Kaznacic, Ivan A., 48 

Kerbler, Dura, 58 

Kirill i Methodij, 12/. 

Kleinmayer, Julij, 74 

Klopstock ("Messias"), 55 

Kluchevsky, V. O., 66 

Klun, Vinko F., 74 

Kolo (of Zagreb), 27 

Komensky ("Labyrinth"), 42 

Kontistic, Petar, 58 

Kopaonik (mine), 33 

Kopitar, Jernej, 8 

Korablica (of Kacic), 62 

Korelin, Mih. Serg., 37 

Kosovo (battlefield), 51 

Krajevic, Marko, 52 

Krcelic, Adam, 66 

Krek, Ivan, 74 

Kresevo (mine), 33 

Kritoboulos of Imbros, 32 

Krizanic, Juraj, 66 

Krmcija (Nomocanon), 23 

Krmcija savinska, 23 

Krstic, Nikola, 28 

Krumbacher, Karl, 17 

Krupan (mine), 33 

Krylov (fabulist), 63 

Krizek, Vaclav, 74 

Kukujevic, Iv., 14, 26, 65/., 74 

Kulin, Ban, 13 

Kuselev-Bezborodko, Gf. Gr., 25 



K 

Kacic Miosic, Andra, 4, 61/. 
Kanavelic (Canavelli), Petar, 65 
Kanizlic, Antun, 4, 68 
Kanonik, 16 

Kanony, see Bogosluzebnye 
Karagic, Vuk S., 8, 10, 67, 71 



"Labyrinth of the World," 42 
La Fontaine ("Fables"), 63 
Lalic, Frano, 58 
Lamanskij, V., 37 
Language (purity of), 62 
Language (theory of), 1, 7, 14, 52 



84 



EARLY JUGOSLAV LITERATURE 



Lascaris, Janus, 37 

Latin alphabet, 70/. 

Latin books, 32 

Latin Church, 60 

Latin civilization, 35 

Latin derivatives, 4 

Latin Empire, 31 

Latin influence, 29 

Latin letters, 62 

Latin mythology, 55 

Latin poets, 58 

Latin script, 8, 13 

Latin "shrewish girl," 45 

Latin translation, 62 

Lauchert, F., 20 

Lavinia (of Palmotic), 55 

Lavrov, P. A., 23/. 

Laws, 16, 27/. 

Leban (Gradimir), Janko, 74 

Legends, 12, 16, i8Jf., 23, 60 

Leger, Louis, 12, 14, 29, 64 

Leroy-Beaulieu, 11 

Leskien, August, 8, 49 

Lessing ("Fables"), 63 

"Letters" (of Chesterfield), 69 

Lettic language, 7, 9 

Letopis matice srpske, 73, 75 

Letopis Popa Duk\anina, 14 

Levant, 34 

Life, v. Zivot 

Life of Decanski, 26 

Linguistics, 2, 10, 69 

Linguists, 58, 68 

Literature, iff., 24, 35, 43, 57, 70/. 

See also Jugoslav literature. 
Lithuanian language, 7, 9 
Liturgical books, 9, 16 
Liturgical language, 1 1 
Liturgical script, 8 
Louvain, 66 

Love songs, 35, 38/., 44/., 56 
Lovjagin, Evgraf, 16 
Lucie, Hanibal, 39^. 
Lucretius ("De Rerum"), 67 
Lucie, Ivan, v. Pavlovic 
Lukarevic, Frano, 49 



Luther, 68 

Lyrics, 36, 43/., 56 



kepava, J., 74 

Lubav Venere, 47 
Lubavnik SrameQiv, 50 
Lubica (pastoral), 48 
Lubic, Sima, 37, 74 
Lubmir (of Zlataric), 46 
kubuski, Lovro, 69 

M 
Macedonia, 7, 35, 52 
Macedonian Slavs, 8, 16 
Macun, Ivan, 74 
Maeterlinck ("Magdaleine"), 60 
Magdalene (of Bunic), 56 
Magdalene (of Dor die), 59 
Maixner, F., 46 
Makowej, Ossip, 53 
Malahna (farce), 48 
Malalas, 18 
Maltzew, A., 16 
Manasses, Constantine, 18 
Mande (of Drzic), 47 
Manichean sects, 21 
Manuel (despot), 31 
Maretic, Toma, 8 
Margareta, 48, 54 
Marica (river), 51 
Markovic, Frano, 53 
Marseilles, 60 
Martynov, Pater, 25 
Marulic, Marko, 48 
Marulus, E., 36 
Marunko i Pavica (parody), 59 
Maschus, 46 

MatijaS Grabancijas Dak, 69 
Matijevic, Dura, 58 
Matkovic, P., 37 
Mazuranic, Antun, 27 
Mazuranic, Ivan, 53 
Mecca, 30 
Medici, 44 
Medini, Milorad, 37, 44, 48, 74 



INDEX 



85 



Mediterranean Sea, 19, 30 

"Menaechmi" (of Plautus), 47 

Mencetic (Menze), Sisko, 38/. 

Mencetic, Vladislav, 65 

Menea, 16 

Mercia, 3 

"Messias" (of Klopstock), 55 

"Metamorphoses," 46, 54 

Metastasio, 36 

Methodius, v. St. Methodius 

Mexico, 31 

Mezimac (of Obradovic), 64 

Michael I (despot), 31 

Michael II (despot), 31 

Middle Ages, 1, 15, 19/., 22, 35, 60 

Mijatovic, Ced., 31, 74 

Miklosic, F., 8, 12, 14, 18, 28, 31 

Miklousic, Tomas, 68 

Milan, 38 

Milas, Nikodim, 23 

Milcetic, Ivan, 39, 45 

Mileseva (monastery), 26 

Milisic, Miho, 66 

Milton ("Paradise Lost"), 55 

Milutin (king), 26, 33 

Mines (ancient Jugoslav), 33 

Miosic, v. Kacic 

Miroslav, v. Gospel of 

Mitrovic, B., 74 

Mohammed II (sultan), 32 

Mohammedans, 21, 41, 51 

Moliere ("L'Avare"), 47 

Montenegro, 29, 33, 62 

Monasteries, 9, 11, 25/., 61/. 

Monumenta (historico-iuridica), 27 

Monumenta serbica, 31 

Monumenta (spect. historiam), 33 

Monuments (written), 11, 13/., 70 

Moralists, v. Jugoslav moralists 

Moravia, 9, 12 

Moravian legends, 12 

Morea, 31 

Morfill, W. R., 23, 74 

Moslems, v. Mohammedans 

"Mother Margareta" (ballad), 48 

Mountains, v. Planine 



"Much Ado About Nothing," 54 
Mudrolubac Indijski, 69 
Murko, M., 23, 74 
Muskatirovic, Jovan, 66 

N 
Najeskovic (Nale), Nikola, 44/. 
Naples, 59 

Narratives of Abraham, 23 
Narratives of Adam, 23 
Natali, Ivan v. Aletic 
Natecane Ujaca i Ulisa, 54 
National bard, 61 
National customs, 3 
National ideals, 52 
National language, 39 
National life, 61 
National literature, 71 
National songs, 39, 48. See also 

Folk songs and Songs. 
National speech, 1, 3, 9 
National spirit, 66 
National tradition, 2, 9, 61 
Nations (theory of), 2 
Naturalist, v. Fiziolog 
Nauci Katonovi (proverbs), 49 
Near East, 34 
Nemana, 25/., 52 
Neretva (river), 30 
Neo-Latin (languages), 34 
New Testament, v. Bible 
Newton, 67 
Nicaea, 31 

Nicodemus, v. Gospel of 
Nikola, v. Gospel of 
Nomocanon, see Krmcija 
Northumbria, 3 
Norway, 33 
Novakovic, Stojan, 7/., 17, 20, 

23/., 28, 74 
Novela od Stanca, 47 
Novi (city), 27 
Novi Sad (city), 67 
Novo Brdo (mine), 33 



86 



EARLY JUGOSLAV LITERATURE 





Obilic, Milos, 52 

Obradovic, Dositije, 61, 69, 71 

Principal works of, 63 

Sketch of Life, 62 

Summary of, 64 
Octoechos, 16 
Old Bulgarian, 8 
Old Jugoslav literature, 13 
Old Serbian, 8 
Old Slavonic canons, 16 
Old Slavonic hymnody, i6/f. 
Old Slavonic language, 5, yff., 17 
Old Slavonic literature, i$ff. 
Old Slavonic monuments, 1 iff. 
Old Slovene, 8 
Old Testament, v. Bible 
Olimpia (drama), 65 
Opera (of Boskovic), 67 
Orbin, Mavro, 66 
Orfelin, Zaharija, 68 
"Orlando Furioso," 54 
Orthodox Church, 9, 15/., 68 
Orthodox Serbs, 29 
Orthodox Slavs, 10/., 22 
Orthography, 10, 70 
Osman (epic), 66 

Diction of, 53 

Modelled on Tasso, 51 

Citations from, 52 
Ostoja (king), 54 
Ostojic, Tihomir, 62, 75 
Otiosities, v. Plandovana 
Ovid, 46, 51, 54/. 
Oxford and Camb. Rev., 73 



Padua (city), 35, 46, 59 
Palaeologus, Michael, 31 
Paleo-Greek, 7 

Paleo-Slavonic language, 12/., 22 
Paleo-Slavonic literature, 18 
Paleo-Slavonic Nomocanon, 23 
Paleo-Slavonic style, 26 
Palmotic, Jaketa, 65 
Palmotic, Junije, 50, 53/., 70 



Pamdtky, 25 

Pamjatniki, 24/. 

"Pancatantra," 19 

Pannonia, 9 

Pannonic legends, 12 

Pannonic Slavs, 8/. 

Panslavism, 11, 66 

Paradise, Garden of, 23 

"Paradise Lost," 55 

Paralipomena of Jeremiah, 23 

Paris, 67 

Parody, 48, 59 

Pastirski Razgovori, 56 

Pastorals, 43/., 50, 56 

Pastrnek, F., 12 

Patareni, v. Bogomils 

Pa via, 67 

Pavic, Arnim, 36/., 47, 53, 55 

Pavic (Budua), Emerik, 4, 62, 68 

Pavlimir (drama), 54 

Pavlovic, Ivan J. Lucie, 68 

Pechan, Antun, 75 

Pec (patriarchy), 26 

Percy ("Reliques"), 61/. 

Persia, 17 

Pervenac (of Obradovic), 64 

Pesmarica (of Kacic), 61/. 

Pesme svecima Srbima, 17 

Pesni Duhovne (of Bunic), 56 

Pesni Duhovne (of Dimitrovic), 48 

Pesni Duhovne (of Dor die), 60 

Pesni J^uvezne (of Mencetic), 38 

Pesni Razlike (of Zlataric) , 46 

Pesni u Smrt (of Zlataric), 46 

Petar Aleksievic (epic), 58 

Peter the Great, 10, 58 

Petrarch, 38, 70 

Petrovic, Vasilije, 66 

Petrovic, Vicentije (Vinko), 58 

Phaedrus ("Fables"), 63 

Philemon, 46 

Philology, 3, 59, 69 

Philologists, 8, 10, 13 

Philosophy, 11, 21, 61/., 67 

"Phoenissae" (of Euripides), 49 

Physiologus, see Fiziolog 



INDEX 



87 



Pilgrim, see Putnik 

Pindar, 17 

Pindus, 8 

Pjerin (of Drzic), 47 

Plam Sever ski (epic), 58 

Plandovana (of Bunic), 56 

Planine (pastoral), 48 

Platonic love, 45 

Plautus, 47 

Poetry, v. Lyrics, Epics, and Dramas 

Pohlin, Marko, 69 

Poland, 51 

Poles, 2 

Politics, 21, 29, 41, 52, 66 

Polivka, George (Jiri), 20, 23, 24, 

47,74 
Pomet (of Drzic), 47 
Pope, Alexander, 45, 62 
Popovic, Ivan Ziga, 69 
Popovic, Pavle, 47/., 75 
Popular dialect, 29 
Popular literature, 22 
Popular poetry, 20, 22, 39^". 
Popular writers, 62 
Portugal, 33 
Posilovic, Pavle, 68 
Poslanice (epistles), 43/., 48 
Posvetiliste Abramovo, 41/. 
Poucni Sastavi (of Dositije), 64 
Povela Bana Kulina, 13 
Pozega (town), 68 
Pravda (of Jaroslav), 28 
Preux, Jules, 27 
Pricice (epigrams), 48 
PrijateJ, Ivan, 75 
Prikazane sv. Beatrice, 48 
Primeri (kniz. i jezika), 7, 17, 20 
Primeri (starohrvat. jezika), 18 
Prince, John Dyneley, judgment of 

Old Slavonic language, 8 
Pripoves od Kra\a Selimira, 59 
Pristina (city), 33 
Prokopovic, Theofan, 66 
Promotus Archimedis, 67 
Propertius, 46 
Proserpina (of Gundulic), 50 



Protevangelium of James, 24 
Proto-Slavonic, 8 
Provencal poetry, 35, 38 
Proverbs (of Solomon), 12 
Proverbs (of Cato), 49 
Prvovencani, Stefan, 2$ff. 
Psalms (of David), 15, 48, 59 
Psalterium Sinaiticum, 13 
Pucic (Pozza), Vicentije, 65 
Pupin, Michael Idvorski, editor of 

South Slav Monuments, 35 
Puritans, 21 

Putnik (of Vetranic), 42 
Pypin, A. N., 25, 75 
Pyramus and Thisbe, 46 

Q 

Questions of Bartholomew, 24 
Questions of John Bogoslov, 24 
Quirinal, 37 



Rad (jugoslovenske akademije), 8, 
21, 32, 37/., 44, 46/., 53, 55, 58, 
62, 67, 69 

Radcenko, K., 64 

Radoslav (king), 26 

Racki, Frano, 12, 21, 27, 37 

Ragusa, v. Dubrovnik 

Rajic, Jovan, 64, 66 

Rakic, Vicentije, 68 

Ranke, Leopold, 32 

Ranina (Ragnina), Dinko, 39, 45^. 

Rascia, v. Serbia 

Rationalism, 61, 63 

Razboj od Turaka (epic\ 48 

Razgovor Ugodni, 61/. 

Reka (Fiume), 27 

Religion, 2, 4, 21,29, 35, 52 

"Reliques" (of Percy), 62 

Relkovic, Matija, 4, 65 

Remeta (of Vetranic), 42 

Renaissance, 2ajf., 2>5ff., 70 

Republic of Dubrovnik, 29jf., 57. 
See also Dubrovnik. 

Republic of letters, 65 



88 



EARLY JUGOSLAV LITERATURE 



Republic of Venice, v. Venice 
Republican freedom, 30, 40 
Resurrection, v. Uskrsnute 
Resetar, Milan, 48/., 53, 55 
Revue des sc. politiques, 29 
Revue slave, 35 
Rheims, v. Gospel of 
Rhetoric, 11, 59/. 
Rhetorical figures, 60 
Rhodope, 8 

Ribane (of Hektorovic), 48 
Riches, v. Bogatstvo 
Rilo (monastery), 11 
Ristic, Jovan, 75 
Robina (drama), 39 
Rodoslov, see Carostavnik 
Rome, 4, 30, 35, 47, 57, 59, 67 
Roman influence, 4/. 
Romanticism, 61 
Romans, 4, 9 
"Romeo and Juliet," 49 
Ronsard, 70 
Rudnik (mine), 33 
Rumania, 26 
Rumanian tongue, 9 
Rumans (Vlachs), 34 
Rusic, Stepo, 58 
Russia, 12, 18, 58, 66 
Russian bylinas, 20 
Russian Church, 68 
Russian fabulist, 63 
Russian history, 66 
Russian kobzars, 62 
Russian language, 10/. 
Russian manuscripts, 22 
Russian Pravda, see Pravda 
Russian recensions, 9 
Russian sects, 12 
Russian translation, 66 
Russians, 2, 9/. 
Russkaja beseda, 74 
Russo-Slavonic, 9, 121, 68 



Sabor (congress), 27 
St. Andrew of Crete, 



17 



St. Beatrice, v. Prikazane of 

St. Chrysostom, 16 

St. Cosmos of Majumena, 17 

St. Cyril, 8, iojf. 

St. Germanus, 17 

St. James the Less, 24 

St. Jerome, 9 

St. John Damascus, 17 

St. Joseph the Hymnographer, 17 

St. Mark, 16 

St. Martin, V. de, 31 

St. Methodius, 7, 11/. 

St. Romanos, 17 

St. Sava, 17, 2$ff. 

St. Sergius, 17 

St. Simeon, 17, 25 ff. 

St. Sophia (cathedral), 16 

St. Sophronius, 17 

St. Stephen (martyr), 60 

St. Thomas, v. Gospel of 

St. Thomas Aquinas, 60 

Salonika (Thessalonica) , 7, 12 

Saltir Slovenski, 59 

Samblak, v. Camblak 

Sasin, Antun, 48, 52 

Satires, 49, 55, 58, 69 

Sava, v. St. Sava 

Savants, v. scientists 

Saveti Zdravoga Razuma, 63 

Saxons, 3, 33 

Sawina Kniga, 13 

Schleicher, August, 8 

Schmidt, Johannes, 8 

Science, 20, 29, 59, 63 

Scientists (savants), 13, 36, 44, 66 

Scriptures, v. Bible 

Sedam Opacina (satire), 49 

Selimir (king), v. Pripoves 

Sen (Zengg), 27 

Serb (short), v. Serbian 

Serbia (Rascia), 12, 26, 31 

Byzantine influence in, 35 

Civil wars of, 30 

Kings of, 26, 32/. 

Methode's disciples in, 12 

Part of Jugoslavia, 3 



INDEX 



8 9 



Skopje, old capital of, 34 
Very fertile land, 32 
Struggle for freedom, 3 
Turkish invasion, 30/., 57 
Under the sway of Russia, 68 

Serbian Academy, v. Academies 

Serbian authors, 69 

Serbian biographies, 25/. 

Serbian coins, 34 

Serbian dialects, 39, 68 

Serbian history, 8, 66 

Serbian hymns, 17 

Serbian independence, 26 

Serbian kings, 26, 32/f. 

Serbian language, 3, 55, 68/. 

Serbian legends, 12 

Serbian literature, 26, 62/. See also 
Jugoslav literature. 

Serbian lore, 20 

Serbian manuscripts, 24 

Serbian mines, 32/. 

Serbian Orthodox saints, 17 

Serbian recensions, 9, 18 

Serbian society, 70 

Serbian State, 5, 31/. 

Serbian towns, 63 

Serbian versions, 26 

Serbians, 3/., 10, 25, 52, 61, 66 

Serblak or Srblak, 17 

Serbo-Croat, v. Jugoslav 

Serbo-Slavonic, 9, 12, 20 

Sermons, v. Besede 

Seven Penitential Psalms, 48 

Seven vices, v. Sedam opalina 

Severjanov, S., 13 

Shakespeare, 20, 47, 49, 54 

Simic, 2ivojin, P., 75 

Simonic, Fr., 75 

Skerlic, Jovan, 64, 75 

Skopje, v. Serbia 

Skup (of Drzic), 47 

Slav (short), v. Slavonic 

Slavdom, 12, 52 

Slaveni u Davnini, 8 

Slavic (short), v. Slavonic 

Slavic heroes, 54 



Slavische Alterthumer, 16 
Slavonia, 69 

Slavonic apostles, 7,9, 11 
Slavonic Bible, v. Bible 
"Slavonic Canzoniere," 38 
Slavonic clans, 4 
Slavonic dialects, 5, 7/. 
Slavonic documents, 22 
"Slavonic Enoch," 23 
Slavonic heraldry, 66 
Slavonic heroes, 54 
Slavonic history, 66 
Slavonic languages, 2, 7, 39, 59 
Slavonic literature, 8, 29, 63 
Slavonic literary history, 3,11 
Slavonic Catholic liturgy, 9 
Slavonic mythology, 55 
Slavonic nations, 2, 11, 37, 66 
Slavonic philology, 3 
Slavonic Psalter, v. Saltir 
Slavonic publications, 18 
Slavonic race, 2, 51 
Slavonic revival, 70 
Slavonic soul, 40 
Slavonic spirit, 54 
Slavonic States, 30, 34 
Slavonic translation, 13 
"Slavonic Xenophon," 69 
Slavo-Serbian, 68 
Slavs, 2, 7/., 11, 24, 41, 66 
Slovene (short), v. Slovenian 
Slovenia, 3, 5, 68 
Slovenian authors, 69 
Slovenian Bible, 68 
Slovenian documents, 13 
Slovenian language, 68 
Slovenian reformers, 68 
Slovenians, 3jf., 61 
Slovnik nauln$ t 74 
Slovnik umetnika jug., 74 
Smederevo (city), 51 
Smirnov, Ivan, 57 
Sobolevskij, A. Iv., 10 
Social conditions, 61 
Social eminence, 46 
Social life, 46, 63, 66 



90 



EARLY TUGOSLAV LITERATURE 



Social literature, 71 

Social organization, 57 

Sofia (city), 34 

Solaric, Pavle, 8, 62, 68/. 

Solomon, 12, 20, 23 

Songs, 4ijf., 48, 62 

Sophocles, 46/. 

Sorkocevic (Sorgo), Petar, 53 

Southern Slav, v. Jugoslav 

Spain, 31, 35 

Speranskij, M. N., 24 

Spiritual songs, 48, 56, 60 

Splet (city), 9 

Srebrenica (mine), 33 

Srem (Syrmia), 62 

Sreznevskij, I., 10 

Srpska knizevna zadruga, 63/. 

Stanojevic, Stanoje, 75 

Start pisci, 39, 43, 48, 53, 55, 65 

Starine (jugoslovenske akademije) 

10, 18, 20, 23/. 
Statius ("Achilleis"), 55 
Statute-books, v. Typiks 
Stead, Alfred, 75 
Stemmatography, 66 
Stepan, Herceg, 52 
Stephanit and Ichnilat, 19 
Stepovic, Andronik, 75 
Stojanovic, Lubomir, 13, 24 
Stojkovic, Atanasije, 66/. 
Stojkovic (Stoicus), Ivan, 37 
Studenica (monastery), 11, 25 
Style (in architecture), 16, 35 
Style (literary), 38, 48, 62/. 
Subotic, Jovan, 75 
Susanna (of Marulic), 48 
Susanna (of Vetranic), 41 
Suze Sina Razmetnoga, 50 
Swift, Jonathan, 62 
Symbolism, 19, 23 
Syria, 22, 31 
Syriac originals, 20 
Syrmia, v. Srem 



Safarik, Janko, 26, 34 



Safarik, Paul Josef, 13, 16, 2$ff., 44, 

„ 48, 75 
Scepkin, V., 13 
Sercer, Ivan, 64 
Sevic, Milan, 64 
Sibenik (city), 61 
§isatovac, v. Apostolus of 
Srepel, Milivoj, 47 
Surmin, Dura, 48, 74/. 



Tabor (Mount), 24 

Tafel, G. L. F., 31 

Talvi (Therese A. L. von Jakob, 

Mrs. Robinson), 37 
Tasso, 46/., 51, 54 
Tassoni, A., 45 

Tears of the Prodigal Son, 50, 56 
Teodosije, 26^*. 
Terence ("Andria"), 47 
Teutonic peoples, 9 
Theocritus ("Idyls"), 56 
Theology, 10/., 17, 61 
Theologians, 37, 68 
Theoria Philosophiae, 67 
Thomas, G. M., 31 
Tibullus, 46 
Tihonravov, N. S., 24/. 
Tirena (of Drzic), 47 
Tolstoy, Leo, 21 
Tozer, H. F., 16 
Translations, 8, 11/., 17/., 46, 48/., 

59/., 66, 68/. 
Transylvania, 33 
Trebizond, 31 
Trlajic, Grigorije, 68 
Trojanski Rat, 18 
Troubadours, 38^. 
Trubar, Primoz, 68 
Tsamblak, v. Camblak 
Tunis, 31 
Turkey, 51 
Turkish conquest, 5 
Turkish inroads, 61 
Turkish yoke, 41 



INDEX 



91 



Turks, 21, 39/., 48, 57 
Typiks (statute-books), 25 

U 
Ukrainians (Little Russians), 2 
Uniats (Greek Catholics), 12 
Universities, 20, 35, 37, 46, 60/. 
Uros I (king), 26, 32/. 
Uros II (king), v. Milutin 
Uskrsnude Isukrstovo, 41 
Uzdasi Mandalene Pokornice, 59 



Vulovic, Svetislav, 25, 75 
Vzbranoj Voevode (hymn), 17 

W 

Wessex (ancient province), 3 
Western Church, 21 
Western Europe, 18/., 35 
Westminster Review, 74 
Wilkinson, J. G., 29, 32 
Women, 35, 46, 49, 58, 63 



Valvasone, Erasmo da, 60 

Valvazor, Ivan, 66 

Vatican, 18 

Vazetje Sigeta Grada, 48 

Venice, 29/., 57, 59 

"Venus and Adonis," 47 

Verni P astir (pastoral), 49 

Vetranic, Mavro, 41/f., 52 

Vida, Marco, 55 

Vidovic, M. A., 60 

Vienna, 65 

Vila Slovinka (epic), 48 

Vinodolski Zakon (code), 27 

Virgil, 46, 51, 55 

Virgin, Mary, 17, 24 

Vita, v. Zitie 

Vitae et Carmina, 59 

Vitezovic, Pavle, 65 

Vitkovic, Gavrilo, 66 

Vladislav (king), 26 

Vojnovic, Lujo, 30 

Vondrak, Vaclav (Wenzel), 8, 10, 13 

Voronov, A. D., 12/. 

Vostokov, Aleksandr, 18 

Voyage of the Virgin, 24 

Voyage of the Apostle Paul, 24 

Vrane (city), 33 



Zadruga (family community), 4 
Zagreb (capital), v. Croatia 
Zakonu pravilo, see KrmUja 
Zaostrog (monastery), 61 
Zbornik (za istoriju), 73 
Zeta, v. Montenegro 
Zlataric, Dinko, 46/f. 
Zograf (monastery), 11, 13 
Zoranic, Petar, 48 
Zore, Luka, 43/., 53 
Zorislava (drama), 65 
Zrinski, Petar, 65 
Zuzoric (Zuzzeri), Bernardo, 58 
Zuzoric (Zuzzeri), Cveta, 46, 49 
Zvornik (mine), 33 



2efarovic, Hristifor, 66 
2ica (monastery), 26 
Zitie Konstantina Filosofa, 12 
Zitie sv. Metodia, 12 
Zivoti kraleva srpskih, 26 
Zivot i Priklucenija, 63 
Zivot sv. Jerolima, 10 
Zivot sv. Save, 26 
Zivot sv. Simeuna, 25/. 
Zumal ministerstva, 57 



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